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Full text of "Boston Symphony Orchestra concert programs, Summer, 2007, Tanglewood"



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Seiji Ozawa Hall 

at Tanglewood 




June 28-July 16 
2007 



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Photo: Teresa Rishel 




James Levine, Music Director 
Bernard Haitink, Conductor Emeritus 
Seiji Ozawa, Music Director Laureate 
126th Season, 2006-2007 



Trustees of the Boston Symphony Orchestra, Inc. 

Edward H. Linde, Chairman 

John F. Cogan, Jr., Vice-Chairman Robert P. O'Block, Vice-Chairman 

Diddy CuLunane, Vice-Chairman Roger T. Servison, Vice-Chairman 

Edmund Kelly, Vice-Chairman Vincent M. O'Reilly, Treasurer 



George D. Behrakis 
Gabriella Beranek 
Mark G. Borden 
Alan Bressler 
Jan Brett 

Samuel B. Bruskin 
Paul Buttenwieser 
Eric D. Collins 

Life Trustees 

Harlan E. Anderson 
Vernon R. Alden 
David B.Arnold, Jr. 
J.P Barger 
Leo L. Beranek 
Deborah Davis Berman 
Peter A. Brooke 
Helene R. Cahners 



Cynthia Curme 
William R. Elfers 
Nancy J. Fitzpatrick 
Charles K. Gifford 
Thelma E. Goldberg 
Stephen Kay 
George Krupp 
Shari Loessberg, ex-oj^ 



James F. Cleary 
Abram T. Collier 
Mrs. Edith L. Dabney 
Nelson J. Darling, Jr. 
Nina L. Doggett 
Mrs. John H. Fitzpatrick 
Dean W. Freed 



Robert J. Mayer, M.D. 
Nathan R. Miller 
Richard P. Morse 
Ann M. Philbin, 

ex-offcio 
Carol Reich 
Edward I. Rudman 
Hannah H. Schneider 



Avram J. Goldberg 
Edna S. Kalman 
George H. Kidder 
R. Willis Leith, Jr. 
Mrs. August R. Meyer 
Mrs. Robert B. Newman 
William J. Poorvu 



Arthur I. Segel 
Thomas G. Sternberg 
Wilmer J. Thomas, Jr. 
Stephen R. Weber 
Stephen R. Weiner 
Robert C. Winters 



Irving W. Rabb 
Peter C. Read 
Richard A. Smith 
Ray Stata 

John Hoyt Stookey 
John L. Thorndike 
Dr. Nicholas T. Zervas 



Other Officers of the Corporation 

Mark Volpe, Managing Director 
Suzanne Page, Clerk of the Board 

Board of Overseers of the Boston Symphony Orchestra, Inc 

Shari Loessberg, Chairman 

William F. Achtmeyer Pamela D. Everhart 



Thomas D. May, Chief Financial Officer 



Diane M. Austin 
Lucille M. Batal 
Maureen Scannell 

Bateman 
Linda J.L. Becker 
George W. Berry 
James L. Bildner 
Bradley Bloom 
Anne F. Brooke 
Gregory E. Bulger 
William Burgin 
Ronald G. Casty 
Rena F. Clark 
Carol Feinberg Cohen 
Mrs. James C. Collias 
Charles L. Cooney 
Ranny Cooper 
James C. Curvey 
Tamara P. Davis 
Mrs. Miguel de 

Braganca 
Disque Deane 
Paul F. Deninger 
Ronald M. Druker 
Alan J. Dworsky 
Alan Dynner 
Ursula Ehret-Dichter 
John P. Eustis II 



Joseph F Fallon 
Thomas E. Faust, Jr. 
Judith Moss Feingold 
Steven S. Fischman 
John F. Fish 
Lawrence K. Fish 
Myrna H. Freedman 
Carol Fulp 
Dr. Arthur Gelb 
Stephanie Gertz 
Robert P. Gittens 
Michael Gordon 
Paula Groves 
Michael Halperson 
Carol Henderson 
Brent L. Henry 
Susan Hockneld 
Osbert M. Hood 
Roger Hunt 
William W. Hunt 
Ernest Jacquet 
Everett L. Jassy 
Charles H. Jenkins, Jr. 
Darlene Luccio 

Jordan, Esq. 
Paul L. Joskow 
Stephen R. Karp 
Brian Keane 



Douglas A. Kingsley 

Robert Kleinberg 

Farla H. Krentzman 

Peter E. Lacaillade 

Renee Landers 

Robert J. Lepofsky 

Christopher J. Lindop 

John M. Loder 

Edwin N. London 

Jay Marks 

Jeffrey E. Marshall 

Carmine Martignetti 

Joseph B. Martin, M.D. 

Thomas McCann 

Joseph C. McNay 

Albert Merck 

Dr. Martin C. Mihm, Jr. 

Robert Mnookin 

Paul M. Montrone 

Robert J. Morrissey 

Evelyn Stefansson Nef 

Robert T O'Connell 

Susan W. Paine 

Joseph Patron 

Ann M. Philbin 

May H. Pierce 

Claudio Pincus 

Joyce L. Plotkin 

Dr. John Thomas Potts, Jr. 



Dr. Tina Young Poussaint 
James D. Price 
Claire Pryor 
Patrick J. Purcell 
John Reed 
Donna M. Riccardi 
Susan Rothenberg 
Alan Rottenberg 
Joseph D. Roxe 
Kenan Sahin 
Ross E. Sherbrooke 
Gilda Slifka 
Christopher Smallhorn 
John C. Smith 
Charles A. Stakely 
Patricia L. Tambone 
Samuel Thorne 
Albert Togut 
Diana Osgood Tottenham 
Joseph M. Tucci 
Paul M. Verrochi 
Robert S. Weil 
David C. Weinstein 
James Westra 
Mrs. Joan D. Wheeler 
Richard Wurtman, M.D. 
Dr. Michael Zinner 
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Overseers Emeriti 
Helaine B. Allen 
Marjorie Arons-Barron 
Caroline D wight Bain 
Sandra Bakalar 
Mrs. Levin H. 

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Barbara Maze 
John A. Perkins 
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Robert E. Remis 
Mrs. Peter van S. Rice 
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Patricia Hansen 

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Officers of the Boston Symphony Association of Volunteers 



Ann M. Philbin, President 
Richard Dixon, Executive 

Vice-President/Adm in istration 
Howard Cutler, Executive 

Vice-President/Fundraising 



William S. Ballen, Executive 
Vice-President/Tanglewood 
Sybil Williams, Secretary 
Gerald Dreher, Treasurer 
Leah Weisse, Nominating Chair 




Programs copyright ©2007 Boston Symphony Orchestra, Inc. 

Cover design by Sametz Blackstone Associates 

Cover photo by Steve Rosenthal 





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Administration 

Mark Volpe, Managing Director 
Eunice and Julian Cohen Managing Directorship, fully funded in perpetuity 



Peter Minichiello, Director of Development 
Kim Noltemy, Director of Sales, Marketing, 

and Communications 
Caroline Taylor, Senior Advisor to the 

Managing Director 
Ray F. Wellbaum, Orchestra Manager 



Anthony Fogg, Artistic Administrator 

Marion Gardner- S axe, Director of Human Resources 

Ellen Highstein, Director of Tanglewood Music Center 

Tanglewood Music Center Directorship, 

endowed in honor of Edward H. Linde 

by Alan S. Bressler and Edward I. Rudman 
Bernadette M. Horgan, Director of Media Relations 
Thomas D. May, Chief Financial Officer 

ADMINISTRATIVE STAFF/ ARTISTIC 

Bridget P. Carr, Senior Archivist-Position endowed by Caroline Dwight Bain • Vincenzo Natale, Chauffeur/ 
Valet • Suzanne Page, Assistant to the Managing Director/Manager of 'Board Administration • Benjamin 
Schwartz, Assistant to the Artistic Administrator 

ADMINISTRATIVE STAFF/ PRODUCTION 

Christopher W. Ruigomez, Director of Concert Operations 

Meryl Atlas, Assistant Chorus Manager • Amy Boyd, Orchestra Personnel Administrator • Felicia A. Burrey, 
Chorus Manager • H.R. Costa, Technical Supervisor • Keith Elder, Production and Touring Manager • 
Jake Moerschel, Assistant Stage Manager • Leah Monder, Operations Manager • John Morin, Stage Technician • 
Mark C. Rawson, Stage Technician • Leslie D. Scott, Concert Operations Coordinator 

BOSTON POPS 

Dennis Alves, Director of Artistic Planning 

Sheri Goldstein, Personal Assistant to the Conductor • Margo Saulnier, Assistant Director of Artistic Planning 

BUSINESS OFFICE 

Sarah J. Harrington, Director of Planning and Budgeting 

Joseph Senna, Director of Investments 

Pam Wells, Controller 

Michelle Green, Executive Assistant to the Chief Financial Officer • Karen Guy, Accounts Payable Supervisor • 

Minnie Kwon, Payroll Assistant • John O'Callaghan, Payroll Supervisor • Mary Park, Budget Analyst • 

Harriet Prout, Accounting Manager • Theany Uy, Staff Accountant • Teresa Wang, Staff Accountant • 

Audrey Wood, Senior Investment Accountant 

DEVELOPMENT 

Alexandra Fuchs, Director of Annual Funds ♦ Nina Jung, Director of Development Events and Volunteer Outreach ♦ 
Bart Reidy, Director of Development Communications ♦ Mia SchultZ, Director of Development Administration 

Stephanie Baker, Major and Planned Giving Coordinator • Cullen Bouvier, Executive Assistant to the Director of 
Development • Diane Cataudella, Associate Director of Stewardship for Donor Relations • Kerri Cleghorn, Associ- 
ate Director, BSO Business Partners • Marcy Bouley Eckel, Annual Funds Membership Manager • Joseph Gaken, 
Associate Director of Stewardship for Donor Recognition • Kara Gavagan, Development Special Events Coordinator • 
Emily Gonzalez, Donor Information and Data Coordinator • Laura Hahn, Annual Fund Projects Coordinator • 
Barbara Hanson, Manager, Koussevitzky Society • Emily Horsford, Assistant Manager of Friends Membership • 
Andrea KatZ, Coordinator of Special Events • Nicole Leonard, Manager of Planned Giving • Ryan Losey, 
Associate Director of Foundation and Government Relations • Pamela McCarthy, Manager of Prospect Research • 
Jennifer Raymond, Associate Director, Friends Membership • Sarah Razer, Gift Processing and Donor Records 
Assistant • Yong-Hee Silver, Manager, Higginson and Fiedler Societies • Kenny Smith, Acknowledgment and Gift 
Processing Coordinator • Mary E. Thomson, Associate Director of Development Corporate Events • Laura Wexler, 
Assistant Manager of Development Communications • Hadley Wright, Foundation and Government Grants 
Coordinator 

EDUCATION AND COMMUNITY PROGRAMS 

Myran Parker-Brass, Director of Education and Community Programs 

Claire Carr, Coordinator of Education and Community Programs • Gabriel Cobas, Manager of Education Programs • 

Darlene White, Manager, Berkshire Education and Community Programs 





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EVENT SERVICES 

Cheryl Silvia Lopes, Director of Event Services 

Tony Bennett, Cafe' Supervisor • Lesley Ann Cefalo, Event Services Business and Sales Manager • Sean Lewis, 
Assistant to the Director of Event Services • Cesar Lima, Steward • Shana Metzger, Special Events Sales Manager • 
Kyle Ronayne, Food and Beverage Manager • James Sorrentino, Bar Manager 

FACILITIES 

Mark Cataudella, Director of Facilities 

Tanglewood David P. Sturma, Director of Tanglewood Facilities and B SO Liaison to the Berkshires 

Ronald T. Brouker, Supervisor ofTanglewood Crew • Robert Lahart, Electrician • Peter Socha, Head Carpenter 

Tanglewood Facilities Staff Robert Casey • Steve Curley • Rich Drumm • Bruce Huber 

HUMAN RESOURCES 

Kathleen Sambuco, Benefits Manager ♦ Mary Pitino, Human Resources Manager 
Susan Olson, Human Resources Recruiter 

INFORMATION TECHNOLOGY 

David W. Woodall, Director of Information Technology 

Guy W. Brandenstein, User Support Specialist • Andrew Cordero, Manager of User Support • Timothy 

James, Applications Support Specialist • Brian Van Sickle, User Support Specialist 

PUBLIC RELATIONS 

Kathleen Drohan, Associate Director of Media Relations • Marni Glovinsky, Media Relations Coordinator • 

Joseph Heitz, Senior Media Relations Associate • Whitney Riepe, Media Relations Associate 

PUBLICATIONS 

Marc Mandel, Director of Program Publications 

Robert Kirzinger, Publications Associate • Eleanor Hayes McGourty, Publications Coordinator/Boston Pops 

Program Editor 

SALES, SUBSCRIPTION, AND MARKETING 

Amy Aldrich, Manager, Subscription Office ♦ Helen N.H. Brady, Director of Group Sales ♦ Alyson Bristol, 
Director of Corporate Sponsorships ♦ Sid Guidicianne, Front of House Manager ♦ James Jackson, Call Center 
Manager ♦ Roberta Kennedy, Buyer for Symphony Hall and Tanglewood ♦ Sarah L. Manoog, Director of Marketing 
Programs ♦ Michael Miller, SymphonyCharge Manager 

Duane Beller, SymphonyCharge Representative • Gretchen Borzi, Marketing Production Manager • Rich Bradway, 
Associate Director of E-Commerce and New Media • Lenore Camassar, SymphonyCharge Assistant Manager • 
John Dorgan, Group Sales Coordinator • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • 
Erin Glennon, Graphic Designer • Julie Green, Subscription Representative • Susan Elisabeth Hopkins, Senior 
Graphic Designer • Aaron Kakos, Subscription Representative • Michele Lubowsky, Assistant Subscription Manager • 
Jason Lyon, Group Sales Manager • Dominic Margaglione, Senior Subscription Associate • Ronnie McKinley, 
Ticket Exchange Coordinator • Maria McNeil, SymphonyCharge Representative • Michael Moore, E-Commerce 
Marketing Analyst • MarcyKate Perkins, SymphonyCharge Representative • Clint Reeves, Graphic Designer • 
Doreen Reis, Marketing Coordinator for Advertising • Andrew Russell, Manager, Major Corporate Sponsor Relations • 
Robert Sistare, SymphonyCharge Representative • Megan E. Sullivan, Senior Subscription Associate 
Box Office Russell M. Hodsdon, Manager • David Winn, Assistant Manager 
Box Office Representatives Mary J. Broussard • Cary Eyges • Mark Linehan • Arthur Ryan 

TANGLEWOOD MUSIC CENTER 

Rachel Cipro tti, Coordinator • Karen Leopardi, Associate Director for Faculty and Guest Artists • Michael Nock, 

Associate Director for Student Affairs • Gary Wallen, Manager of Production and Scheduling 

TANGLEWOOD SUMMER MANAGEMENT STAFF 

Thomas Cinella, Business Office Manager • Peter Grimm, Seranak House Manager • David Harding, 
TMC Concerts Front of House Manager • Randie Harmon, Front of House Manager • Marcia Jones, Manager 
of Visitor Center 

VOLUNTEER OFFICE 

Nina Jung, Director of Development Events and Volunteer Outreach 

Kris "Donna, Associate Director of Volunteers • Sabine Chouljian, Assistant Manager for Volunteer Services 




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Friday, 10am - 30 minutes post concert 
Saturday, 9am - 30 minutes post concert 
Sunday, noon - 6pm 



Highwood Gate: 

Performance Hours 





TANGLEWOOD 



The Tanglewood Festival 

In August 1934 a group of music-loving summer residents of the Berkshires organized a 
series of three outdoor concerts at Interlaken, to be given by members of the New York 
Philharmonic under the direction of Henry Hadley. The venture was so successful that the 
promoters incorporated the Berkshire Symphonic Festival and repeated the experiment during 
the next summer. 

The Festival Committee then invited Serge Koussevitzky and the Boston Symphony 
Orchestra to take part in the following year's concerts. The orchestra's Trustees accepted, 
and on August 13, 1936, the Boston Symphony Orchestra gave its first concerts in the 
Berkshires (at Holmwood, a former Vanderbilt estate, later the Center at Foxhollow). The 
series again consisted of three concerts and was given under a large tent, drawing a total of 
nearly 15,000 people. 

In the winter of 1936 Mrs. Gorham Brooks and Miss Mary Aspinwall Tappan offered 
Tanglewood, the Tappan family estate, with its buildings and 210 acres of lawns and mead- 
ows, as a gift to Koussevitzky and the orchestra. The offer was gratefully accepted, and on 
August 5, 1937, the festival's largest crowd to that time assembled under a tent for the first 
Tanglewood concert, an all-Beethoven program. 

At the all-Wagner concert that opened the 1937 festival's second weekend, rain and 
thunder twice interrupted the Rienzi Overture and necessitated the omission altogether of 
the "Forest Murmurs" from Siegfried, music too delicate to be heard through the downpour. 
At the intermission, Miss Gertrude Robinson Smith, one of the festival's founders, made an 
appeal to raise funds for the building of a permanent structure. The appeal was broadened 
by means of a printed circular handed out at the two remaining concerts, and within a short 
time enough money had been raised to begin active planning for a "music pavilion." 

Eliel Saarinen, the eminent architect selected by Koussevitzky, proposed an elaborate 
design that went far beyond the immediate needs of the festival and, more important, went 
well beyond the budget of $100,000. His second, simplified plans were still too expensive; he 
finally wrote that if the Trustees insisted on remaining within their budget, they would have 
"just a shed, ...which any builder could accomplish without the aid of an architect." The 
Trustees then turned to Stockbridge engineer Joseph Franz to make further simplifications 

in Saarinen's plans in 
order to lower the cost. 
The building he erected 
was inaugurated on the 
evening of August 4, 
1938, when the first 
concert of that year's 
festival was given, and 
remains, with modifica- 
tions, to this day. It has 
echoed with the music 
of the Boston Sym- 
phony Orchestra every 
After the storm of August 12, 1937, which precipitated a fundraising summer since, except 

drive for the construction of the Tanglewood Shed f or tne war years 1942- 

45, and has become almost a place of pilgrimage to millions of concertgoers. In 1959, as the 
result of a collaboration between the acoustical consultant Bolt Beranek and Newman and 
architect Eero Saarinen and Associates, the installation of the then-unique Edmund Hawes 
Talbot Orchestra Canopy, along with other improvements, produced the Shed's present 




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world-famous acoustics. In 1988, on the, occasion of its fiftieth anniversary, the Shed was 
rededicated as "The Serge Koussevitzky Music Shed," recognizing the far-reaching vision of 
the BSO's legendary music director. 

In 1940, the Berkshire Music Center (now the Tanglewood Music Center) began its 
operations. By 1941 the Theatre-Concert Hall, the Chamber Music Hall, and several small 
studios were finished, and the festival had so expanded its activities and its reputation for ex- 
cellence that it attracted nearly 100,000 visitors. 

With the Boston Symphony Orchestra's acquisition in 1986 of the Highwood estate 
adjacent to Tanglewood, the stage was set for the expansion of Tanglewood's public grounds 
by some 40%. A master plan developed by the Cambridge firm of Carr, Lynch, Hack and 
Sandell to unite the Tanglewood and Highwood properties confirmed the feasibility of 
using the newly acquired property as the site for a new concert hall to replace the outmod- 
ed Theatre-Concert Hall (which was used continuously with only minor modifications 
since 1941, and which with some modification has been used in recent years for the Tangle- 
wood Music Center's opera productions), and for improved Tanglewood Music Center 
facilities. Inaugurated on July 7, 1994, Seiji Ozawa Hall — designed by the architectural firm 
William Rawn Associates of Boston in collaboration with acoustician R. Lawrence Kirke- 
gaard &c Associates of Downer's Grove, Illinois, and representing the first new concert facil- 
ity to be constructed at Tanglewood in more than a half-century — now provides a modern 
venue for TMC concerts, and for the varied recital and chamber music concerts offered by 
the Boston Symphony Orchestra throughout the summer. Ozawa Hall with its attendant 
buildings also serves as the focal point of the Tanglewood Music Center's Leonard Bernstein 
Campus, as described below. Also at Tanglewood each summer, the Boston University 
Tanglewood Institute sponsors a variety of programs that offer individual and ensemble 
instruction to talented younger students, mostly of high school age. 



A "Special Focus" Exhibit at the Tanglewood Visitor Center 
The Festival of Contemporary Music at Tanglewood: A Photographic Retrospective 

Since 1964, the Tanglewood Music Center has organ- 
ized an intensive five-day festival — the TMC's annual 
Festival of Contemporary Music (FCM) — dedicated 
to the work of both established and up-and-coming 
contemporary composers. This summer's "special focus" 
exhibit traces the origins of FCM in the mid-1950s 
through its formal establishment in 1964 (under the 
leadership of Erich Leinsdorf and Gunther Schuller 

ki in conjunction with the Fromm Music Foundation) 
I and into the late 1980s. Drawing primarily on the 
I BSO Archives' extensive collection of Tanglewood 
- ' •« MM ~ ■ HM photographs, the exhibit documents the musicians and 

composers who have played an active role in the Festival's continued artistic success, including 
Theodore Antoniou, Elliott Carter, Aaron Copland, John Harbison, Oliver Knussen, Bruno 
Maderna, Gunther Schuller, and Charles Wuorinen, to name just a few. In the photo above, 
Paul Fromm, Aaron Copland, Lukas Foss, and Gunther Schuller discuss contemporary music 
activities at Tanglewood, c.1963. 

Preserving FCM in Sound: In the summer of 2006, the BSO Archives was awarded a grant 
from the Association for Recorded Sound Collection (ARSC) to preserve a collection of forty- 
nine FCM programs recorded on reel-to-reel tape between 1969 and 1981. At the completion 
of this project, performances of works by Milton Babbitt, Arthur Berger, Pierre Boulez, Elliott 
Carter, John Harbison, Olivier Messiaen, Gunther Schuller, and Charles Wuorinen, among 
others, will be available to researchers in the BSO Archives. 




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Today Tanglewood annually draws more than 300,000 visitors. Besides the concerts of 
the Boston Symphony Orchestra, there are weekly chamber music concerts, Friday-evening 
Prelude Concerts, Saturday-morning Open Rehearsals, the annual Festival of Contempo- 
rary Music, and almost daily concerts by the gifted young musicians of the Tanglewood 
Music Center. The Boston Pops Orchestra appears annually, and the season closes with a 
weekend-long Jazz Festival. The season offers not only a vast quantity of music but also a 
vast range of musical forms and styles, all of it presented with a regard for artistic excellence 
that makes the festival unique. 



The Tanglewood Music Center 

Since its start as the Berkshire Music Center in 1940, the Tanglewood Music Center has 
become one of the world's most influential centers for advanced musical study. Serge Kous- 
sevitzky, the Boston Symphony Orchestras music director from 1924 to 1949, founded the 
Center with the intention of creating a premier music academy where, with the resources of 
a great symphony orchestra at their disposal, young instrumentalists, vocalists, conductors, 
and composers would sharpen their skills under the tutelage of Boston Symphony Orchestra 
musicians and other specially invited artists. 

The Music Center opened formally on July 8, 1940, with speeches and music. "If ever 
there was a time to speak of music, it is now in the New World," said Koussevitzky, alluding 
to the war then raging in Europe. "So long as art and culture exist there is hope for humanity." 
Randall Thompson's Alleluia for unaccompanied chorus, specially written for the ceremony, 
arrived less than an hour before the event began but made such an impression that it con- 
tinues to be performed at the opening ceremonies each summer. The TMC was Kousse- 
vitzky s pride and joy for the rest of his life. He assembled an extraordinary faculty in com- 
position, operatic and choral activities, and instrumental performance; he himself taught the 
most gifted conductors. 

Koussevitzky continued to develop the Tanglewood Music Center until 1950, a year 
after his retirement as the BSO's music director. Charles Munch, his successor in that posi- 
tion, ran the Tanglewood Music Center from 1951 through 1962, working with Leonard 
Bernstein and Aaron Copland to shape the school's programs. In 1963, new BSO Music 
Director Erich Leinsdorf took over the school's reins, returning to Koussevitzky 's hands-on 
leadership approach while restoring a renewed emphasis on contemporary music. In 1970, 
three years before his appointment as BSO music director, Seiji Ozawa became head of the 
BSO's programs at Tanglewood, with Gunther Schuller leading the TMC and Leonard 
Bernstein as general advisor. Leon Fleisher served as the TMC's Artistic Director from 1985 
to 1997. In 1994, with the opening of Seiji Ozawa Hall, the TMC centralized its activities 
on the Leonard Bernstein Campus, which also includes the Aaron Copland Library, cham- 
ber music studios, administrative offices, and the Leonard Bernstein Performers Pavilion 
adjacent to Ozawa Hall. Ellen Highstein was appointed Director of the Tanglewood Music 
Center in 1997. 

The 150 young performers and composers in the TMC's Fellowship Program — advanced 
musicians who generally have completed all or most of their formal training — participate in 
an intensive program including chamber and orchestral music, opera, and art song, with a 
strong emphasis on music of the twentieth and twenty-first centuries. All participants 
receive full fellowships that underwrite tuition, room, and board. TMC Orchestra highlights 
this summer include a concert performance in the Koussevitzky Music Shed of Verdi's Don 
Carlo conducted by James Levine with a guest cast of internationally renowned singers; a 
TMCO concert led by Stefan Asbury in Ozawa Hall, and Beethoven's Ninth Symphony 
led by Rafael Friihbeck de Burgos in the Shed — the latter representing Tanglewood's tradi- 
tional season-ending performance of that work. The season also includes a fully staged 



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WilliamstownJA 4134582303 clarkart.edu 

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Williamstown, Massachusetts, in association with the Royal Academy of Arts. London. 




TMC production of Mozart's Cost fan tutte conducted by James Levine (August 11-14 in 
the Theatre) and a third collaboration between the TMC Vocal Program and Keith Lockhart 
and the Boston Pops Orchestra — a concert performance of Rodgers & Hammerstein's clas- 
sic musical Carousel (July 10 in the Shed). The TMC season opens with a residency by the 
Mark Morris Dance Group, culminating in two performances by the company (June 28 
and 29) of Mark Morris's choreography to Purcell's Dido and Aeneas, conducted by Stefan 
Asbury and featuring TMC singers and instrumentalists. All TMC Fellows participate in 
the TMC's ongoing chamber music programs in Ozawa Hall (Sunday mornings at 10 a.m., 
and on Saturdays at 6 p.m. prior to BSO concerts). The 2007 Festival of Contemporary 
Music — a five-day celebration of the music of our time — will be directed by John Harbison, 
and will focus on "The Generation of '38," highlighting the remarkable quality and diversity 
of music written by composers born in or near that year. The Fromm Concert at Tanglewood, 
the penultimate event of the Festival, will feature the Julius Hemphill Sextet and improvi- 
sations with Musica Elettronica Viva. The start of the TMC season again includes an 
intensive string quartet seminar; and a highlight of the Composition Program is the now 
regular collaboration with Shakespeare & Company on writing incidental music for the 
theater — this season a condensed version of Macbeth, featuring Tina Packer and actors 
from the company, on stage with TMC musicians in Ozawa Hall as part of Tanglewood on 
Parade on August 15. 

It would be impossible to list all of the distinguished musicians who have studied at the 
Tanglewood Music Center. According to recent estimates, 20% of the members of American 
symphony orchestras, and 30% of all first-chair players, studied at the TMC. Besides Seiji 
Ozawa, prominent alumni of the Tanglewood Music Center include Claudio Abbado, Luciano 
Berio, the late Leonard Bernstein, Stephanie Blythe, David Del Tredici, Christoph von 
Dohnanyi, the late Jacob Druckman, Lukas Foss, John Harbison, Gilbert Kalish (who head- 
ed the TMC faculty for many years), Oliver Knussen, Lorin Maazel, Wynton Marsalis, 
Zubin Mehta, Sherrill Milnes, Leontyne Price, Ned Rorem, Sanford Sylvan, Cheryl 
Studer, Michael Tilson Thomas, Dawn Upshaw, Shirley Verrett, and David Zinman. 

Today, alumni of the Tanglewood Music Center play a vital role in the musical life of the 
nation. Tanglewood and the Tanglewood Music Center, projects with which Serge Kousse- 
vitzky was involved until his death, have become a fitting shrine to his memory, a living 
embodiment of the vital, humanistic tradition that was his legacy. At the same time, the 
Tanglewood Music Center maintains its commitment to the future as one of the world's 
most important training grounds for the composers, conductors, instrumentalists, and vocal- 
ists of tomorrow. 




BSO Music Director James Levine, who works with the TMC Fellows in classes on orchestral 
repertoire, Lieder, and opera, shown here with TMC Vocal Fellows in a July 2005 session devoted 
to Mozart's "Don Giovanni" 



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For rates and 
information on 
advertising in the 
Boston Symphony, 
Boston Pops, 
and 

Tanglewood program books 
please contact: 

STEVE GANAK AD REPS 
51 CHURCH STREET 
BOSTON, MASS. 02116 



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CLASSICAL CD DELETIONS & OVERRUNS 

Top quality LPs, tapes, CDs, videos and books from $2.00. Over 15,000 Classical 
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IN CONSIDERATION OF OUR PERFORMING ARTISTS AND PATRONS 

PLEASE NOTE: TANGLEWOOD IS PLEASED TO OFFER A SMOKE-FREE 

ENVIRONMENT. WE ASKTHATYOU REFRAIN FROM SMOKING 

ANYWHERE ON THE TANGLEWOOD GROUNDS. DESIGNATED 

SMOKING AREAS ARE MARKED OUTSIDE THE ENTRANCE GATES. 

Latecomers will be seated at the first convenient pause in the program. 

If you must leave early, kindly do so between works or at intermission. 

Please do not bring food or beverages into the Music Shed or Ozawa Hall. 

PLEASE NOTE THATTHE USE OF AUDIO OR VIDEO RECORDING EQUIPMENT 

DURING CONCERTS AND REHEARSALS IS PROHIBITED, AND THAT VIDEO 

CAMERAS MAY NOT BE CARRIED INTO THE MUSIC SHED OR OZAWA HALL 

DURING CONCERTS OR REHEARSALS. 

Cameras are welcome, but please do not take pictures during the performance as the noise and 
flash are disturbing to the performers and to other listeners. 

FOR THE SAFETY OF YOUR FELLOW PATRONS, PLEASE NOTE THAT COOKING, 

OPEN FLAMES, SPORTS ACTIVITIES, BIKES, SCOOTERS, SKATEBOARDS, AND 

TENTS OR OTHER STRUCTURES ARE PROHIBITED FROM THE TANGLEWOOD 

GROUNDS, AND THAT BALL PLAYING IS NOT PERMITTED ON THE SHED LAWN 

AT ANY TIME WHEN THE GROUNDS ARE OPEN FOR A SHED CONCERT. 

In consideration of the performers and those around you, please be sure that your cellular 

phones, pagers, and watch alarms are switched off during concerts. 

THANK YOU FOR YOUR COOPERATION. 



TANGLEWOOD INFORMATION 

PROGRAM INFORMATION for Tanglewood events is available at the Main Gate, Bernstein 
Gate, Highwood Gate, and Lion Gate, or by calling (413) 637-5165. For weekly pre-recorded 
program information, please call the Tanglewood Concert Line at (413) 637-1666. 

BOX OFFICE HOURS are from 10 a.m. until 6 p.m. Monday through Friday (extended through 
intermission on concert evenings); Saturday from 9 a.m. until intermission; and Sunday from 
10 a.m. until intermission. Payment may be made by cash, personal check, or major credit card. 
To charge tickets by phone using a major credit card, please call SYMPHONYCHARGE 
at 1-888-266-1200, or in Boston at (617) 266-1200. Tickets can also be ordered online at 
www.tanglewood.org. Please note that there is a service charge for all tickets purchased by phone 
or on the web. 

TANGLEWOOD's WEB SITE at www.tanglewood.org provides information on all Boston Sym- 
phony and Boston Pops activities at Symphony Hall and at Tanglewood, and is updated regularly. 

FOR PATRONS WITH DISABILITIES, parking facilities are located at the Main Gate and 
at Ozawa Hall. Wheelchair service is available at the Main Gate and at the reserved-parking lots. 
Accessible restrooms, pay phones, and water fountains are located throughout the Tanglewood 
grounds. Assistive listening devices are available in both the Koussevitzky Music Shed and Seiji 
Ozawa Hall; please speak to an usher. For more information, call VOICE (413) 637-5165. To pur- 
chase tickets, call VOICE 1-888-266-1200 or TDD/TTY (617) 638-9289. For information about 
disability services, please call (617) 638-9431. 

IN CASE OF SEVERE LIGHTNING, visitors to Tanglewood are advised to take the usual pre- 
cautions: avoid open or flooded areas; do not stand underneath a tall isolated tree or utility pole; 
and avoid contact with metal equipment or wire fences. Lawn patrons are advised that your auto- 
mobile will provide the safest possible shelter during a severe lightning storm. Readmission passes 
will be provided. 

FOOD AND BEVERAGES can be obtained at the Tanglewood Cafe and at other locations as 
noted on the map. The Tanglewood Cafe is open Monday through Friday from 11:30 a.m. to 2:30 
p.m., Saturdays from 9 a.m. to 2:30 p.m., Sundays from noon until 7:30 p.m., and through the in- 
termission of all Tanglewood concerts. Visitors are invited to picnic before concerts. Meals to go 
may be ordered several days in advance at www.tanglewood.org or by phone at (413) 637-5240. 



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LAWN TICKETS: Undated lawn tickets for both regular Tanglewood concerts and specially 
priced events may be purchased in advance at the Tanglewood box office. Regular lawn tickets for 
the Music Shed and Ozawa Hall are not valid for specially priced events. Lawn Pass Books, 
available at the Main Gate box office, offer eleven tickets for the price often. LAWN TICKETS 
FOR ALL BSO AND POPS CONCERTS IN THE SHED MAY BE UPGRADED AT THE 
BOX OFFICE, subject to availability, for the difference in the price paid for the original lawn 
ticket and the price of the seat inside the Shed. 

SPECIAL LAWN POLICY FOR CHILDREN: On the day of the concert, children under 
the age of twelve will be given special lawn tickets to attend Tanglewood concerts FREE OF 
CHARGE. Up to four free children's lawn tickets are offered per parent or guardian for each con- 
cert, but please note that children under five must be seated on the rear half of the lawn. Please 
note, too, that children under five are not permitted in the Koussevitzky Music Shed or in Seiji 
Ozawa Hall during concerts or Open Rehearsals, and that this policy does not apply to organized 
children's groups (15 or more), which should contact Group Sales at Symphony Hall in Boston, 
(617) 638-9345, for special rates. KIDS' CORNER, where children accompanied by adults may 
take part in musical and arts and crafts activities supervised by BSO staff, is available during the 
Saturday-morning Open Rehearsals and beginning at 12 noon before Sunday-afternoon concerts. 
Further information about Kids' Corner is available at the Visitor Center. 

OPEN REHEARSALS by the Boston Symphony Orchestra are held each Saturday morning 
at 10:30, for the benefit of the orchestra's Pension Fund. Tickets are $17 and available at the 
Tanglewood box office. A half-hour pre-rehearsal talk about the program is offered free of charge 
to ticket holders, beginning at 9:30 in the Shed. 

STUDENT LAWN DISCOUNT: Students twelve and older with a valid student ID receive 
a 50% discount on lawn tickets for Friday-night BSO concerts. Tickets are available only at the 
Main Gate box office, and only on the night of the performance. 

FOR THE SAFETY AND CONVENIENCE OF OUR PATRONS, PEDESTRIAN WALK- 
WAYS are located in the area of the Main Gate and many of the parking areas. 

THE LOST AND FOUND is in the Visitor Center in the Tanglewood Manor House. Visitors 
who find stray property may hand it to any Tanglewood official. 

FIRST AID STATIONS are located near the Main Gate and the Bernstein Campus Gate. 

PHYSICIANS EXPECTING CALLS are asked to leave their names and seat numbers with the 
guide at the Main Gate (Bernstein Gate for Ozawa Hall events). 

THE TANGLEWOOD TENT near the Koussevitzky Music Shed offers bar service and picnic 
space to Tent Members on concert days. Tent Membership is a benefit available to donors through 
the Tanglewood Friends Office. 

THE GLASS HOUSE GIFT SHOPS adjacent to the Main Gate and the Highwood Gate sell 
adult and children's leisure clothing, accessories, posters, stationery, and gifts. Please note that the 
Glass House is closed during performances. Proceeds help sustain the Boston Symphony concerts 
at Tanglewood as well as the Tanglewood Music Center. 



Tanglewood Visitor Center 

The Tanglewood Visitor Center is located on the first floor of the Manor House at the rear 
of the lawn across from the Koussevitzky Music Shed. Staffed by volunteers, the Visitor 
Center provides information on all aspects of Tanglewood, as well as information about 
other Berkshire attractions. The Visitor Center also includes an historical exhibit on Tangle- 
wood and the Tanglewood Music Center, as well as the early history of the estate. 

You are cordially invited to visit the Center on the first floor of the Tanglewood Manor 
House. During July and August, daytime hours are from 10 a.m. to 4 p.m. Monday through 
Friday, from 9 a.m. to 4 p.m. on Saturday, and from noon until twenty minutes after the con- 
cert on Sunday, with additional hours Friday and Saturday evenings from 5:30 p.m. until 
twenty minutes after the concerts on these evenings, as well as during concert intermissions. 
In June and September the Visitor Center is open only on Saturdays and Sundays, from 10 
a.m. to 4 p.m. There is no admission charge. 



BOSTON SYMPHONY ASSOCIATION OF VOLUNTEERS 
TANGLEWOOD ADMINISTRATIVE COMMITTEE 2007 

Nina Jung, Director of Development Events and Volunteer Outreach 



President 

Ann Philbin 

Executive Vice-President 

Bill Ballen 

Immediate Past Executive 

Vice-President 

Ursula Ehret-Dichter 

Vice-President 

Margery Steinberg 

Secretary 

Wilma Michaels 

Nominating, Executive Chair 

Mel Blieberg 



COMMUNITY/ 

AUDIENCE SERVICES 

Gus Leibowitz. 

Executive Chair 

Education and Community 

Outreach 

Norma Ruffer 

Tour Guides 

Marita Renner 

Ron Winter 

Brochure Distribution 

Sharon Shepard-Ballen 

Ushers and Programmers 

Mary J. Papa 

Bob Rosenblatt 

Transportation Bus Greeters 

Roberta Cohn 

Susan Price 



DEVELOPMENT 
Howard Arkans, 
Executive Chair 

Annual Fund 

Mary Jane Handler 

Joseph Handler 

Friends Office 

Judy Benjamin 

Carol Kosakoff 

Seranak Gardens and Flowers 

Jack Adler 

Tent Club 

Carolyn Corby 

Helen Kimpel 



EDUCATION 
Midge Sandlin, 
Executive Chair 

Joys ofTanglewood 

(Berkshire Museum Series) 

Gabe KosakofF 

Elena Winter 

Talks & Walks 

Ivan Kates 

Mary Ellen Tremblay 

Tanglewood for Kids 

Rita Blieberg 

Stephanie Gittleman 

Youth Activities 

Andrew Garcia 

Brian Rabuse 

Exhibition Docents 

Michael Geller 

Carole Siegel 



MEMBERSHIP 

Ken Singer, Executive Chair 

Membership Events 

Marsha Burniske 

Roz Mancher 

Database 

Ned Dana 

Newsletter 

Sylvia Stein 

Personnel 

Alexandra Warshaw 

Ready Team 

Jessica Mormann 

Retired Volunteers Club 

Judith Cook 



TMC 

Bob Gittleman, Executive 
Chair 

TMC Lunch Program 

Sue Arkans 

Transportation Coordinator 

Carol Maynard 

Opening Exercises 

Mary Blah- 
Karen Methven 
Tanglewood on Parade Picnic 
Rosalie Beal 
Arline Breskin 



TANGLEWOOD 2007 TALKS & WALKS 

"Talks 6t Walks" is a series of informal conversations presented by guest artists and mem- 
bers of the Tanglewood family in the Tent Club on Thursday afternoons. The Tent Club 
opens at noon; the talks begin at 1 p.m. and are followed by guided walks at 1:45 p.m. led 
by Tanglewood Association tour guides. Subject to availability, individual tickets are sold 
between 12:30 and 1 p.m. on the day of the talk for $15 at the Tent Club ($10 for Friends 
ofTanglewood). Bring along a picnic lunch; beverages and dessert are available for pur- 
chase. This year's series takes place on the following Thursdays: 

July 12 Thomas Hampson, Baritone 

July 19 Christine Brewer, Soprano 

July 26 Kurt Masur, Conductor 

August 2 James Sommerville, BSO Principal Horn 

August 9 Emanuel Ax, Pianist 

August 16 Keith Lockhart, Conductor, Boston Pops Orchestra 

August 23 Marc Mandel, BSO Director of Program Publications 





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IN TRIBUTE TO FLORENCE GOULD 




Florence Gould 

Florence Lacaze Gould, for whom the Florence Gould Auditorium in Seiji Ozawa 
Hall is named, was born in San Francisco to French parents in 1895. The San Francisco 

earthquake of 1906 
destroyed her father's 
printing house, and 
the family returned 
to France. Florence 
arrived not speaking 
a word of French, 
but she was quick, 
intelligent, and mu- 
sically gifted, and by 
the age of sixteen she 
was studying voice 
at the Paris Conser- 
vatory. Although she 
asserted throughout 
her life that she "had 
not a drop of Ameri- 
can blood," she remained a U.S. citizen until her death in 1983. 

Florence returned to San Francisco with her new husband, an American architect, at 
the outbreak of World War I, but the marriage did not last and she returned to France 
in 1917. Following the Armistice, she recommenced her musical studies, and was often 
to be found singing in the salons of Paris, along with the likes of the famous Parisian 
entertainer Collette. It was at such an event that she caught the eye of Frank Jay Gould, 
son of the American railroad magnate Jay Gould. The two were married in 1923 and, at 
her husband's request, Florence gave up her singing career. 

The Goulds were at the center of social life in the South of France during the 1920s 
and 1930s, where they attracted an international crowd of socialites, artists, and writers. 
They remained in France throughout World War II, during which time Florence served 
as a nurse and established a famous literary salon that became a center of intellectual life 
in wartime Paris. It was also at this time that she became a patron of contemporary 
painters, Braque and Picasso among them, and began amassing an extraordinary collec- 
tion of modern art. 

Frank Gould died in 1956, leaving an enormous fortune to his wife. Florence Gould 
continued her philanthropy to the arts, and was awarded the Legion d'Honneur by 
French President Charles de Gaulle in 1961. The guests of her salon tended no longer 
to be rebellious, avant-garde intellectuals, but, instead, great established personages, 
many of them members of the Academic She also surrounded herself with the leading 
European and American art collectors, dealers, and cultural leaders. At the time of her 
death, her art collection included works by Bonnard, Cassat, Cezanne, Corot, Degas, 
Gaugin, Toulouse-Lautrec, Manet, Monet, Pissarro, Renoir, and Van Gogh. The major- 
ity of the proceeds from the sale of her estate was given to the Florence Gould Foun- 
dation, the principal purpose of which is to foster Franco- American amity and collabo- 
ration. The Florence Gould Foundation endowed the auditorium of Seiji Ozawa Hall, 
naming it in honor of Mrs. Gould, in 1990, and similarly has named other cultural 
facilities throughout the United States and in France. The Foundation also has endowed 
a Fellowship at the Tanglewood Music Center for the benefit of talented young French 
musicians. 



South Mountain Concerts 

Pittsfield, Massachusetts 
89 th Season of Chamber Music 
jcerts Sundays at 3 P.M. 

September 2 

redo, Robinson Trio 

September 9 

String Quartet 

September 16 

String Quartet 

September 30 

String Quartet 

October 7 

itring Quartet 

ihem Rressler, piano 

For Brochure and Ticket Information Write 
South Mountain Concerts, Box 23 

Pittsfield, MA 01 202 Phone 41 3 442-21 06 
www.southmountainconcerts.com 




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JULY 5 - AUGUST 19, 2007 



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BARDSUMMERSCAPE 

Bard SummerScape 2007 explores the cultural milieu of that most British of composers, Edward Elgar, 
through opera, theater, music, dance, and the 18th annual Bard Music Festival, "Elgar and His World." 
SummerScape takes place in the visually stunning and acoustically superb Fisher Center, designed by 
Frank Gehry, and other venues on campus, including the unique Spiegeltent. 






OPERA 

Two Operas by 
Alexander von Zemlinsky 

A FLORENTINE TRAGEDY 

THE DWARF 

July 27, 29, August 2, 4, 5 

American Symphony Orchestra 
Conducted by Leon Botstein 
Directed by Olivier Tambosi 
Sets and costumes by 
McDermott & McGough 

THE SORCERER 

August 3-5, 8-12 

By Gilbert and Sullivan 
Conducted by James Bagwell 
Directed by Erica Schmidt 

THEATER 

SAINT JOAN 

July 12-15, 19-22 

By George Bernard Shaw 
Directed by Gregory Thompson 



BARD MUSIC FESTIVAL 

Eighteenth season 

ELGAR AND HIS WORLD 

August 10-12, 17-19 

Two weekends of concerts, 
panels, and other events bring 
the musical world of Edward 
Elgar vividly to life 

FILM FESTIVAL 

BRITISH POSTWAR CLASSICS 

Thursdays and Sundays, 

July 8 -August 9 

Offering such masterpieces 
as The Third Man and Black 
Narcissus and the madcap 
romps produced by Ealing 
Studios 



SPECIAL EVENTS 

SPIEGELTENT 

July 5 -August 19 

The Spiegeltent is the very 
essence of a festival club and 
European "kabaret salon." ■ 
It's the perfect venue for 
rollicking late-night 
performances and 
intimate dinint 



DANCE 

DOUG VARONE AND 

DANCERS 

July 5-8 

SUSAN MARSH/"* 
& COMPANY 
July 6 



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Seven weeks of cultural delight! 
— International Herald Tribune 




For tickets: 845-758-7900 or 
www.fishercenter.bard.edu 



in 




Annandale-on-Hudson, NY. 



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. - - • 



EIGHTEENTH ANNUAL 

BARD MUSIC FESTIVAL 






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AND HIS WORLD 
August 10-12 and 
August 17-19, 2007 



The Bard Music Festival's 18th season explores the musical world of Edward Elgar 
(1857-1934), an outsider to the world of Victorian society whose works nevertheless came 
to embody the essence of English classical music.Through concerts, panels, and special 
events in the Fisher Center, designed by Frank Gehry, and other venues, this year's 
Barcl Music Festival promises to bring Elgar and his world vividly to life. 



©Hulton-DeutschCollection/CORBIS 



WEEKEND ONE 
AUGUST 10-12, 2007 

FRIDAY, AUGUST 10 

PROGRAM ONE 

ELGAR: FROM AUTODIDACT TO 
"MASTER OF THE KING'S 
MUSIC K" 
Works by Elgar 

SATURDAY, AUGUST 11 

PROGRAM TWO 

MUSIC IN THE ERA OF 

QUEEN VICTORIA 

Works by Elgar, Cramer, Bennett, 

Mendelssohn-BartholdyWalmisley, 

Stainer, Horn, Lehmann, Hatton, 

Sullivan, Wesley, Ouseley 

SPECIAL EVENT 

PIANISTIC ANGLOPHILIA: ELGAR, 
IRELAND, AND GRAINGER 
Performance with commentary 

PROGRAM THREE 

ELGAR AND THE "ENGLISH 
MUSICAL RENAISSANCE" 
Works by Elgar, Parry, Stanford 
American Symphony Orchestra 
Leon Botstein, conductor 



SUNDAY, AUGUST 12 

PROGRAM FOUR 

ELGAR AND THE VICTORIAN 

SPIRIT 

Works by Elgar, Smyth, Somervel, 

Parry, Stanford 

PROGRAM FIVE 

IMPERIAL POMP AND PASTORAL 

NOSTALGIA: BRITISH MUSIC FOR 

BRASS AND STRINGS 

Works by Elgar, Bantock, Strauss, 

Vaughan Williams, Hoist, Ireland, 

Grainger 

WEEKEND TWO 
AUGUST 17-19, 2007 

FRIDAY, AUGUST 17 

PROGRAM SIX 

ELGAR AND THE SALON 
Works by Elgar, Faure, Bridge, 
White, Smyth, Parry, Quilter 

SATURDAY, AUGUST 18 

PROGRAM SEVEN 

"GOD BLESS THE MUSIC HALLS": 
VICTORIAN AND EDWARDIAN 
POPULAR SONG IN AMERICA 
AND BRITAIN 
Performance with commentary 



PROGRAM EIGHT 

THE GREAT WAR AND 
MODERN MUSIC 
Works by Elgar, Debussy, Ireland, 
Bliss, Butterworth, Curney 

PROGRAM NINE 

ELGAR: THE IMPERIAL 

SELF-PORTRAIT 

Works by Elgar 

American Symphony Orchestra 

Leon Botstein, conductor 

SUNDAY, AUGUST 19 

PROGRAM TEN 

ELGAR AND MODERNISM 
Works by Elgar, Delius, Hoist, 
Scott, Howells, Walton 

PROGRAM ELEVEN 

THE CULTURE OF RELIGION: 
THE DREAM OF GERONTIUS 
Works by Elgar 

American Symphony Orchestra 
Leon Botstein, conductor 



THE RICHARD B. 

FISHER 
CENTER 

PERFORMING ARTS 
AT BARD COLLEGE 

Annandale-on-Hudson, N.Y. 



Tickets are $25 to $55. Panels and symposia are free. 
For tickets call 845-758-7900 or visit www.fishercenter.bard.edu 



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Seiji Ozawa Hall at Tanglewood 

June 28 -July 16, 2007 

Table of Contents 

Thursday, June 28, and Friday, June 29, at 8:30 2 

MARK MORRIS DANCE GROUP in collaboration 

with the TANGLEWOOD MUSIC CENTER 
PurcelTs "Dido and Aeneas" 

Sunday, July 1, at 8:30 15 

EMERSON STRING QUARTET 
All-Beethoven Program 

Thursday, July 5, at 8:30 23 

JUILLIARD STRING QUARTET 
All-Bartok Program 

Monday, July 9, at 8:30 30 

TANGLEWOOD MUSIC CENTER ORCHESTRA, 

STEFAN ASBURY, ERIK NIELSEN, and 

KAZEM ABDULLAH conducting 
Music of Ravel, Bartok, and Hoist 

Thursday, July 12, at 8:30 40 

HESPERION XXI, JORDI SAVALL, director 

"The Sephardic Diaspora: Ballads and Instrumental Music" 

Sunday, July 15, at 8:30 46 

ANDRE PREVIN, piano, with special guests 

JIM HALL, guitar, and DAVID FINCK, bass 
An Evening of Jazz 

Monday, July 16, at 8:30 51 

TANGLEWOOD MUSIC CENTER ORCHESTRA, 

MARK ELDER, SEAN NEWHOUSE, and 

KAZEM ABDULLAH conducting 
Music of Stravinsky, Haydn, and Shostakovich 





Tangle wood 



Thursday, June 28, at 8:30 

Friday, June 29, at 8:30 

Florence Gould Auditorium, Seiji Ozawa Hall 



%m h 



SEIJI OZAWA HALL 



MARK MORRIS DANCE GROUP 

craig biesecker samuel black* joe bowie 

charlton boyd elisa clark amber darragh 

rita donahue lauren grant john heginbotham 

david leventhal laurel lynch 

bradon Mcdonald Dallas mcmurray* 

maileokamura june omura noah vinson 

jennweddel* julie worden michelle yard 

Apprentice 

Artistic Director 
MARK MORRIS 

Executive Director 
NANCY UMANOFF 



with 
VOCAL FELLOWS OF THE TANGLEWOOD MUSIC CENTER 

and the 

TANGLEWOOD MUSIC CENTER ORCHESTRA, 

STEFAN ASBURY, conductor 



Altria Group, Inc., is the Lead Sponsor of the Mark Morris Dance Group. 
MetLife Foundation is the Official Tour Sponsor of the Mark Morris Dance Group. 
Major support for the Mark Morris Dance Group is provided by Carnegie Corporation of 

New York, JPMorganChase Foundation, The Howard Gilman Foundation, Independence 

Community Foundation, The Fan Fox and Leslie R. Samuels Foundation, The Shubert 

Foundation, and The Starr Foundation. 
The Mark Morris Dance Group New Works Fund is supported by The Andrew W. Mellon 

Foundation, Ellsworth Kelly Foundation, The Gladys Krieble Delmas Foundation, Poss 

Family Foundation, and Harold and Melanie Snedcof. 
The Mark Morris Dance Group performances are made possible with public funds from the 

National Endowment for the Arts Dance Program and the New York State Council on 

the Arts, a State Agency. 







DIDD& AENEAS 

Music: Henry Purcell (1689) 
Libretto: Nahum Tate 

Choreography: Mark Morris 

Set Design: Robert Bordo 

Costume Design: Christine Van Loon 

Lighting Design: James F. Ingalls 

Premiere: March 11, 1989 -Theatre Royal de la Monnaie, Theatre Varia, Brussels 



Characters 

{In order of vocal 
appearance) 

BELINDA 
DIDO 

SECOND WOMAN 

AENEAS 

SORCERESS 

FIRST WITCH 

SECOND WITCH 

SAILOR 

SPIRIT (MERCURY) 



Dancers 



maile okamura 
amber darragh (6/28) 
bradon Mcdonald (6/29) 
rita donahue 
craig biesecker 

amber darragh (6/28) 
bradon Mcdonald (6/29) 
elisa clark 
noah vinson 
lauren grant 



Singers 



YULIA VAN DOREN 
KATHERINE WHYTE 

EVE-LYN DE LA HAYE 
CHRISTOPHER 
JOHNSTONE 
CHRISTIN-MARIE HILL 

ILEANA MONTALBETTI 
KATHRYN LEEMHUIS 
STEPHEN NG 
REBECCA JO LOEB 



Courtiers, Witches, Spirits, Sailors, and Conscience (Dancers) 
SAMUEL BLACK, JOE BOWIE, ELISA CLARK, RITA DONAHUE, 
LAUREN GRANT, DAVID LEVENTHAL, MAILE OKAMURA, JUNE OMURA, 
NOAH VINSON, MICHELLE YARD 

Chorus (Vocal Fellows of the Tanglewood Music Center) 

EMILY ALBRINK, EVE-LYN DE LA HAYE, ILEANA MONTALBETTI, sopranos 
CHRISTIN-MARIE HILL, REBECCA JO LOEB, KATHRYN LEEMHUIS, altos 
MATTHEW ANDERSON, SIDDHARTHA MISRA, STEPHEN NG, tenors 
MISCHA BOUVIER, PAUL SCHOLTEN, ULYSSES THOMAS, basses 

TANGLEWOOD MUSIC CENTER 

VOCAL FELLOWS AND ORCHESTRA 

STEFAN ASBURY, conductor 



This evening's program will be performed without an intermission. 
Please note that the text of "Dido and Aeneas" is being distributed separately. 



>m 



m 



SYNOPSIS 

Scene 1. The Palace 

The Trojan War is over. Aeneas and his people have found themselves in Carthage after a 
treacherous sea voyage. His destiny, as decreed by the gods, is to found Rome, but he has 
become obsessed with Dido, Queen of Carthage. Her sister and confidante, Belinda, and 
other optimistic courtiers urge her to enjoy her good fortune, but the young widow Dido 
is anxious. Aeneas arrives to ask the Queen, again, to give herself to him. Belinda notices 
with relief that Dido seems to be capitulating. Dido and Aeneas leave together. Love tri- 
umphs. 

Scene 2. The Cave 

The evil Sorceress summons her colleagues to make big trouble in Carthage. Dido must 
be destroyed before sunset. Knowing of Aeneas' destiny to sail to Italy, the Sorceress 
decides to send a spirit disguised as Mercury to tell him he must depart immediately. 
Since Dido and Aeneas and the rest are out on a hunt, the witches plan to make a storm 
to spoil the lovers' fun and send everyone back home. The witches cast their spell. 

Scene 3. The Grove 

Dido and Aeneas make love. Another triumph for the hero. The royal party enters and 
tells a story for Aeneas' benefit. Dido senses the approaching storm. Belinda, ever practi- 
cal, organizes the trip back to the palace. Aeneas is accosted by the false Mercury with 
this command: "Leave Carthage now." He accepts his orders, then wonders how to break 
the news to Dido. He is worried. 

Scene 4. The Ships 

Aeneas and the Trojans prepare for the journey. The Sorceress and her witches are quite 
pleased to see that their plot is working. Once Aeneas has sailed they will conjure an 
ocean storm. They are proud of themselves. 

Scene 5. The Palace 

Dido sees the Trojans preparing their ships. Aeneas tries to explain his predicament and 
offers to break his vow in order to stay with her. Dido is appalled by his hypocrisy. She 
sends him away and contemplates the inevitability of death. "Remember me but forget my 
fate." Dido dies. 




State Street Global Advisors is proud to sponsor the 2007 Tanglewood season. 



Steinway and Sons Pianos, selected exclusively for Tanglewood 

Special thanks to Delta Air Lines and Commonwealth Worldwide Chauffeured Transportation 

In consideration of the performers and those around you, cellular phones, pagers, 
and watch alarms should be switched off during the concert 

Please do not take pictures during the concert. Flashes, in particular, are distracting to 

the performers and other audience members. 
Note that the use of audio or video recording equipment during performances in the 

Music Shed or Ozawa Hall is prohibited. 




2007 , . 

Tanglewood 




SEIJI OZAWA HALL 



Thursday, June 28, at 8:30 

Friday, June 29, at 8:30 

Florence Gould Auditorium, Seiji Ozawa Hall 

MARK MORRIS DANCE GROUP 

with VOCAL FELLOWS OF THE TANGLEWOOD MUSIC CENTER 
and the TANGLEWOOD MUSIC CENTER ORCHESTRA 

Henry Purcell, DIDO & AENEAS (1689) 
Libretto by Nahum Tate 



Overture 

SCENE 1 

{The Palace. Enter Dido, Belinda and 
attendants) 

BELINDA 

Shake the cloud from off your brow, 
Fate your wishes does allow; 
Empire growing, pleasures flowing, 
Fortune smiles and so should you. 

CHORUS 

Banish sorrow, banish care, 

Grief should ne'er approach the fair. 

DIDO 

Ah! Belinda, I am press'd 
With torment not to be confessd. 
Peace and I are strangers grown. 
I languish till my grief is known, 
Yet would not have it guessd. 

BELINDA 

Grief increases by concealing. 

DIDO 

Mine admits of no revealing. 

BELINDA 

Then let me speak; the Trojan guest 

Into your tender thoughts has press'd. 

SECOND WOMAN 

The greatest blessing Fate can give, 
Our Carthage to secure, and Troy 
revive. 



CHORUS 

When monarchs unite, how happy 

their state; 
They triumph at once o'er their foes 

and their fate. 

DIDO 

Whence could so much virtue spring? 
What storms, what battles did he 

sing? 
Anchises' valor mix'd with Venus' 

charms, 
How soft in peace, and yet how fierce 

in arms. 

BELINDA 

A tale so strong and full of woe 
Might melt the rocks, as well as you. 

SECOND WOMAN 

What stubborn heart unmov'd could 

see 
Such distress, such piety? 

DIDO 

Mine with storms of care oppress'd 
Is taught to pity the distress'd; 
Mean wretches' grief can touch 
So soft, so sensible my breast, 
But ah! I fear I pity his too much. 

BELINDA and SECOND WOMAN 

Fear no danger to ensue, 
The hero loves as well as you. 
Ever gentle, ever smiling, 
And the cares of life beguiling 
Cupids strew your paths with flowers 
Gather'd from Elysian bowers. 



CHORUS 

Fear no danger to ensue 
The hero loves as well as you. 
Ever gentle, ever smiling, 
And the cares of life beguiling. 
Cupids strew your paths with flowers 
Gather cl from Elysian bowers. 

Dance 
(/Eneas enters with his train) 

BELINDA 

See, your royal guest appears; 
How godlike is the form he bears! 

.ENEAS 

When, royal fair, shall I be bless'd, 

With cares of love and state distress'd? 

DIDO 

Fate forbids what you pursue. 

.ENEAS 

.Eneas has no fate but you! 
Let Dido smile, and I'll defy 
The feeble stroke of Destiny. 



CHORUS 

Cupid only throws the dart 
That's dreadful to a warrior's heart, 
And she that wounds can only cure 
the smart. 

.ENEAS 

If not for mine, for empire's sake. 
Some pity on your lover take; 
Ah! make not in a hopeless fire 
A hero fall, and Troy once more 
expire. 

BELINDA 

Pursue thy conquest, Love - her eyes 
Confess the flame her tongue denies. 

CHORUS 

To the hills and the vales, 

To the rocks and the mountains, 

To the musical groves, and the cool 

shady fountains 
Let the triumphs of love and of beauty 

be shown. 
Go revel ye Cupids, the day is your 



own. 



The Triumphing Dance 




Guillermo Res to (Aeneas) and Mark Morris (Dido) in the 1995 film of "Dido and Aeneas" 



SCENE 2 

{The Cave. Enter Sorceress) 

Prelude for the Witches 

SORCERESS 

Wayward sisters, you that fright 
The lonely traveler by night, 
Who like dismal ravens crying 
Beat the windows of the dying, 
Appear at my call, and share in the 

fame. 
Of a mischief shall make all Carthage 

flame. 
Appear! Appear! Appear! Appear! 

{Enter witches) 

FIRST WITCH 

Say, Beldame, what's thy will? 

CHORUS 

Harm's our delight and mischief all 
our skill. 

SORCERESS 

The Queen of Carthage, whom we 

hate, 
As we do all in prosp'rous state, 
Ere sunset shall most wretched prove, 
Depriv'd of fame, of life and love. 

CHORUS 
Ho, ho, ho, etc. 

FIRST and SECOND WITCHES 

Ruin'd ere the set of sun? 

Tell us, how shall this be done? 

SORCERESS 

The Trojan Prince you know is bound 
By Fate to seek Italian ground; 
The Queen and he are now in chase, 

FIRST WITCH 

Hark! Hark! The cry comes on apace! 

SORCERESS 

But when they've done, my trusty elf, 
In form of Mercury himself, 
As sent from Jove, shall chide his stay, 
And charge him sail tonight with all 
his fleet away. 



CHORUS 
Ho, ho, ho, etc. 

FIRST and SECOND WITCHES 
But ere we this perform 
We'll conjure for a storm. 
To mar their hunting sport, 
And drive 'em back to court. 

CHORUS 

In our deep vaulted cell. 
The charm we'll prepare, 
Too dreadful a practice 
for this open air. 

Echo Dance of Furies 

SCENE 3 

Ritornelle 

{The Grove. Enter jEneas, Dido, 
Belinda and their train) 

BELINDA 

Thanks to these lonesome vales, 
These desert hills and dales, 
So fair the game, so rich the sport 
Diana's self might to these woods 
resort. 

CHORUS 

Thanks to these lonesome vales, 
These desert hills and dales, 
So fair the game, so rich the sport 
Diana's self might to these woods 
resort. 

SECOND WOMAN 

Oft she visits this lone mountain, 
Oft she bathes her in this fountain. 
Here, Actaeon met his fate, 
Pursued by his own hounds; 
And after mortal wounds, 
Discover'd too late 
Here Actaeon met his fate. 

{A dance to entertain ALneas 
by Dido's women) 



^NEAS 

Behold, upon my bending spear 
A monster's head stands bleeding 
With tushes [tusks] far exceeding 
Those did Venus' huntsman tear. 

DIDO 

The skies are clouded: 

Hark! How thunder 

Rends the mountain oaks asunder! 

BELINDA 

Haste to town! this open field 

No shelter from the storm can yield 

Haste to town! 

CHORUS 

Haste to town! This open field 
No shelter from the storm can yield 
Haste to town! 

{The Spirit of the Sorceress descends to 
Apneas in the likeness of Mercury) 

SPIRIT 

Stay, Prince, and hear great Jove's 

command: 
He summons thee this night away. 

^NEAS 
Tonight? 

SPIRIT 

Tonight thou must forsake this land; 

The angry god will brook no longer 

stay. 
Jove commands thee, waste no more 
In love's delights those precious hours 
AUow'd by th almighty powers 
To gain th' Hesperian shore 
And ruin'd Troy restore. 

iENEAS 

Jove's commands shall be obey'd; 
Tonight our anchors shall be weigh'd. 
But ah! What language can I try, 
My injur'd Queen to pacify? 
No sooner she resigns her heart 
But from her arms I'm forc'd to part. 
How can so hard a fate be took? 
One night enjoy 'd, the next forsook. 
Yours be the blame, ye gods! for I 
Obey your will; but with more ease 
could die. 



SCENE 4 

{The Ships) 

SAILOR 

Come away, fellow sailors, your 

anchors be weighing, 
Time and tide will admit no delaying; 
Take a boozy short leave of your 

nymphs on the shore, 
And silence their mourning 
With vows of returning, 
But never intending to visit them 

more. 

CHORUS 

Come away, fellow sailors, your 

anchors be weighing 
Time and tide will admit no delaying; 
Take a boozy short leave of your 

nymphs on the shore, 
And silence their mourning 
With vows of returning, 
But never intending to visit them 

more. 

The Sailors Dance 
{Enter Sorceress and Witches) 

SORCERESS 

See, see the flags and streamers curling, 
Anchors weighing, sails unfurling. 

FIRST and SECOND WITCHES 
Phoebe's pale deluding beams 
Gilding o'er deceitful streams. 
Our plot has took, 
The Queen's forsook! 
Elissa's ruin'd, ho, ho, ho, etc. 

SORCERESS 

Our next motion 

Must be to storm her lover on the 

ocean. 
From the ruin of others our pleasures 

we borrow; 
Elissa bleeds tonight, and Carthage 

flames tomorrow. 

CHORUS 

Destruction's our delight, 
Delight our greatest sorrow; 



Elissa dies tonight, 

And Carthage flames tomorrow. 

Ho, ho, ho, etc. 

The Witches Dance 

(Jack of the Lanthorn leads the Sailors 

out of their way among the Witches) 

{Enter Dido, Belinda and women) 

DIDO 

Your counsel all is urgd in vain, 
To earth and heaven I will complain; 
To earth and heaven why do I call? 
Earth and heaven conspire my fall. 
To Fate I sue, of other means bereft, 
The only refuge for the wretched left. 

BELINDA 

See, madam, see where Prince appears! 
Such sorrow in his look he bears 
As would convince you still he's true. 

^NEAS 

What shall lost ^Eneas do? 
How, royal fair, shall I impart 
The god's decree, and tell you we must 
part? 

DIDO 

Thus on fatal banks of the Nile 
Weeps the deceitful crocodile; 
Thus hypocrites that murder act 
Make heav'n and gods the authors of 
the fact! 

.ENEAS 

By all that's good - 

DIDO 

By all that's good, no more! 
All that's good you have forswore. 
To your promis'd empire fly, 
And let forsaken Dido die. 

.ENEAS 

In spite of Jove's commands I'll stay, 

Offend the gods, and love obey. 

DIDO 

No, faithless man, thy course pursue; 
I'm now resolv'd, as well as you. 
No repentance shall reclaim 
The injur'd Dido's slighted flame; 



for 'tis enough, what e'er you now 

decree, 
That you had once a thought of 

leaving me. 

.ENEAS 

Let Jove say what he please, I'll stay! 

DIDO 

Away, away! 

.ENEAS 

No, no, I'll stay and Love obey. 

DIDO 

No, no, away, away, 
To Death I'll fly 
If longer you delay. 
Away, Away! 

{ExitJEneas) 

But Death alas! I cannot shun; 
Death must come when he is gone. 

CHORUS 

Great minds against themselves 

conspire, 
And shun the cure they most desire. 

DIDO 

Thy hand, Belinda; darkness shades 

me, 
On thy bosom let me rest; 
More I would but Death invades me; 
Death is now a welcome guest. 
When I am laid in earth, may my 

wrongs create 
No trouble in thy breast, 
Remember me! But ah! forget my fate. 

{Cupids appear in the clouds 
o'er her tomb) 

CHORUS 

With drooping wings ye Cupids 

come, 
And scatter roses on her tomb. 
Soft and gentle as her heart; 
Keep here your watch, and never part. 



{Cupid's Dance) 



FINIS 



BOSTON SYMPHONY ORCHESTRA 



Tanglewood 



LENOX, MA 



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Tickets: $21, $43, $66 

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FRIENDS OF 

Tanglewood Music Center 

Each summer, the Tanglewood Music 
Center-one of the most influential centers 
for advanced musical study-offers tuition- 
free fellowships to approximately 150 of 
the most talented young musicians in the 
world. 

The TMC relies on support from individuals and 
businesses to fund these fellowships. A gift of 
$7,500 or $15,000 funds a half- or full-fellowship. 

Become a Fellowship Sponsor today. 

For more information, call Barbara Hanson 

at (413) 637-5x78 or bhanson@bso.org. 



ARTISTS 




MARK MORRIS 

Mark Morris was born on August 29, 1956, in Seattle, Washington, where 
he studied as a young man with Verla Flowers and Perry Brunson. In the 
early years of his career, he performed with Lar Lubovitch, Hannah Kahn, 
Laura Dean, Eliot Feld, and the Koleda Balkan Dance Ensemble. He 
formed the Mark Morris Dance Group in 1980 and has since created more 
than 120 works for the company. From 1988 to 1991, he was Director of 
Dance at the Theatre Royal de la Monnaie in Brussels, the national opera 
house of Belgium. Among the works created during his tenure were three 
evening-length dances: The Hard Nut, L 'Allegro, il Penseroso ed il Moderate/; and Dido and 
Aeneas. In 1990 he founded the White Oak Dance Project with Mikhail Baryshnikov. Mr. 
Morris is also much in demand as a ballet choreographer. He has created six works for the 
San Francisco Ballet since 1994 and has received commissions from American Ballet Theatre 
and Boston Ballet, among others. His work is also in the repertory of the Geneva Ballet, 
New Zealand Ballet, Houston Ballet, English National Ballet, and The Royal Ballet. Morris 
is noted for his musicality (he has been described as "undeviating in his devotion to music") 
and for his "ability to conjure so many contradictory styles and emotions." He has worked 
extensively in opera, directing and choreographing productions for the Metropolitan Opera, 
New York City Opera, English National Opera, and the Royal Opera, Covent Garden. Mr. 
Morris was named a Fellow of the MacArthur Foundation in 1991. He has received hon- 
orary doctorates from the Boston Conservatory of Music, the Juilliard School, Long Island 
University, Pratt Institute, Bowdoin College, Bard College, Bates College, and George 
Mason University. In 2006 he received the New York City Department of Cultural Affairs 
Mayor's Award for Arts & Culture and a WQXR Gramophone Special Recognition Award 
for exposing thousands of people to classical music of the highest standard coupled with his 
own approach to dance. Mark Morris is the subject of a biography by Joan Acocella (Farrar, 
Straus 6c Giroux) and a member of the American Academy of Arts and Sciences. In 2001, 
Marlowe & Company published Mark Morris' LAllegro, il Penseroso ed il Moderato: A Cele- 
bration, a volume of photographs and critical essays. 

MARK MORRIS DANCE GROUP 

The Mark Morris Dance Group was formed in 1980 and gave its first concert that year in 
New York City. The company's touring schedule steadily expanded to include cities both in 
the U.S. and in Europe, and in 1986 it made its first national television program for the PBS 
series "Dance in America." In 1988 MMDG was invited to become the national dance com- 
pany of Belgium, spending three years in residence at the Theatre Royal de la Monnaie in 
Brussels. The company returned to the United States in 1991 as one of the world's leading 
dance companies, performing across the U.S. and at major international festivals. It has 
maintained and strengthened its ties to several cities around the world, most notably its west 
coast home, Cal Performances in Berkeley, CA. It appears regularly in Boston, MA; Urbana, 
IL; Fairfax, VA; Seattle, WA, and at the Jacob's Pillow Dance Festival in Becket, MA. 
MMDG made its debut at the Mostly Mozart Festival in 2002 and at the Tanglewood 
Music Festival in 2003 and has since been invited to both festivals annually. The company's 
London seasons have garnered two Laurence Olivier Awards. MMDG is noted for its com- 
mitment to live music, a feature of every performance on its full international touring sched- 
ule since 1996. MMDG collaborates with leading orchestras, opera companies, and musi- 
cians, including cellist Yo-Yo Ma in the Emmy Award-winning film Falling Down Stairs 
(1997); Indian composer Zakir Hussain, Mr. Ma, and jazz pianist Ethan Iverson in Kolam 
(2002); The Bad Plus in Violet Cavern (2004); pianists Emanuel Ax and Yoko Nozaki for 
Mozart Dances (2006); and with English National Opera in Four Saints in Three Acts (2000) 
and King Arthur (2006), among others. MMDG's film and television projects also include 
Dido and Aeneas, The Hard Nut, and two documentaries for the UK's South Bank Show. In 



fall 2001, MMDG opened the Mark Morris Dance Center in Brooklyn, NY, the company's 
first permanent headquarters in the U.S., providing rehearsal space for the dance community, 
outreach programs for local children, and a school offering dance classes to students of all 
ages. The company's 25th-anniversary celebration included over 100 performances through 
26 U.S. cities and ten UK cities; five world premieres, and Mr. Morris's conducting debut in 
a performance of Gloria at BAM. 

STEFAN ASBURY 

Firmly established as one of today's leading conductors of contemporary 
| music, Stefan Asbury is in increasing demand as a guest conductor with 
Bpf major orchestras, ensembles, and festivals worldwide. Mr. Asbury has served 

~^l I8S*M on *k e faculty of the Tanglewood Music Center since 1995; he was the 
TMC's Associate Director of New Music Activities from 1999 to 2002 
and currently holds the Sana H. Sabbagh Master Teacher Chair on the 
TMC Conducting Faculty. He was music director of Remix Ensemble 
Casa da Musica Porto, Portugal, from 2000 to 2004, commissioning new 
works and programming an innovative mix of jazz, film, and music theatre. In 2006-07 he 
became artist in association with the Tapiola Sinfonietta, with which he conducts four proj- 
ects per season. Recent engagements include his Concertgebouw debut with music of Ades, 





©1993 illustration by Allen Say, 
Grandfather's Journey 



125 West Bay Road 

Amherst, MA 01002 

413.658.1100 

www.picturebookart.org 



COOPERSTOWN, NEW YORK 

Michael MacLeod, General & Artistic Director 

2007 FESTIVAL SEASON 

ORPHEUS 

JULY 7 - AUGUST 28 



MONTEVERDI 
L'Orfeo 

GWCK (Berlioz) 
Orpdee et Luryctice 

OFFENBACH 

Orpheus in the 
Underworld 

* Meet Philip Glass July 31 at 
ourComposerQ&Aafterthe 
opera. Free Admission. 

New special events for 2007! 

Meet the Artists • Dessert Tasting • Family Day 
Accommodations listing is available online. 

(607) 547-2255 
glimmerglass.org 



Britten, and Bernstein; the world premiere of a new work by Mark- Anthony Turnage with 
the London Sinfonietta to mark the reopening of London's Royal Festival Hall; Stravinsky's 
Threni with the Deutsches Symphonie-Orchester Berlin and the RIAS Kammerchor; a return 
engagement with ORF (the Austrian Radio Orchestra) at the Wien Modern; a return to the 
Salzburg Festival with Klangforum Wien, and a Norrkoping Symphony concert (music of 
Henze, Mahler, and Britten) as part of the Stockholm Composers Festival. He will conduct 
Wolfgang Rihm's Jakob Lenz for the Wiener Festwochen in spring 2008. 

ROBERT BORDO {set design) was born in Montreal and has lived and worked in New 
York since 1972. His first New York solo exhibition was held at Brooke Alexander in 1987. 
His paintings were most recently seen in Incorrigible, Sentimental curated by Merline James 
(Kerlin Gallery, Dublin) and Mirage curated by Julie Ault and Martin Beck (Alexander and 
Bonin). He is a professor at the Cooper Union School of Art, where he leads the painting 
program. In 2003 he was visiting critic for the M.F.A. program at Yale University and the 
Glasgow School of Art, Scotland, as well as a visiting artist at the American Academy in 
Rome. He has collaborated with Mark Morris designing sets and costumes for several 
dances, including Henry Purcell's opera Dido and Aeneas. 

JAMES F. INGALLS {lighting design) has designed several works for Mark Morris, including 
Rameau's Platee at New York City Opera and the Royal Opera; Dido and Aeneas; The Hard 
Nut, the first White Oak Dance Project tours; Ein Herz for the Paris Opera Ballet; and 
Maelstrom, Pacific and Sandpaper Ballet for San Francisco Ballet. For the Boston Ballet he has 
designed The Four Seasons choreographed by Christopher Wheeldon, Lila York's Celts, and 
Nine Lives and Resurrection, choreographed by Daniel Pelzig. Recent work includes The 
Elephant Man on Broadway, War and Peace at the Metropolitan Opera, Counter/Part choreo- 
graphed by Jim Vincent for Hubbard Street Dance Company, and LAmour de loin directed 
by Peter Sellars at Santa Fe Opera, the Theatre du Chatelet in Paris, and the Salzburg 
Festival. He often collaborates with Beth Burns and the Saint Joseph Ballet. 

CHRISTINE VAN LOON {costume design) was born in Hoeilaart, Belgium, and has stud- 
ied commercial art and costume and set design. At the Theatre Royal de la Monnaie in 
Brussels, she worked in both the set and costume departments and with Maurice Bejart's 
Ballet of the 20th Century. Ms. Van Loon has designed the costumes for several Mark 
Morris productions, including Dido and Aeneas. 



MARK MORRIS DANCE GROUP 

CRAIG BIESECKER, from Waynesboro, PA, received a B.S. in Music Education from 
West Chester University of Pennsylvania. While teaching music in Philadelphia, he studied 
ballet with John White, Margarita de Saa, and Bryan Koulman and worked with choreogra- 
phers Tim and Lina Early. In New York City he has worked with Pascal Rioult, Carolyn 
Dorfman, New York Theater Ballet, Mark Dendy, and Gerald Casel. Craig joined MMDG 
in 2003. 

SAMUEL BLACK is originally from Berkeley, CA, where he began studying tap at the age 
of nine with Katie Maltsberger. He recently received his B.F.A. in dance from SUNY Pur- 
chase, where he performed works by Mark Morris, Paul Taylor, Zvi Gotheiner, Sean Curran, 
and Kevin Wynn. During a semester at the Rotterdamse Dansacademie in Holland, Sam 
had the opportunity to dance in several Dutch cities and in Germany. He has performed in 
New York with David Parker, Takehiro Ueyama, and Nelly van Bommel. Sam first worked 
with MMDG in 2005 and joined the company as an apprentice in 2006. 

JOE BOWIE was born in Lansing, MI, and began dancing while attending Brown University, 
where he graduated with honors in English and American Literature. In New York he has 
performed in works of Robert Wilson and Ulysses Dove, and also danced with the Paul 



Taylor Dance Company for two years before going to Belgium to work with Mark Morris 
in 1989. 

CHARLTON BOYD was born in New Jersey, where he studied and performed with the 
Inner City Ensemble Theater and Dance Company He graduated from the Juilliard School. 
He went on to dance with the Limon Dance Company and appears in Jose Limon Technique 
Video, Volume 1, among other music videos. He first appeared with MMDG in 1989 and 
became a company member in 1994. 

ELISA CLARK received her early training from the Maryland Youth Ballet and her B.F.A. 
from the Juilliard School, under the direction of Benjamin Harkarvy. She has danced with 
the Lar Lubovitch Dance Company, the Nederlands Dans Theater, the Peridance Ensemble, 
and Battleworks Dance company. Ms. Clark has staged works by Robert Batde, David Parsons, 
Igal Perry, and Adam Hougland for various schools and companies, including the Alvin Alley 
American Dance Theater. She has been on the faculty of the American Dance Festival, cur- 
rently works closely with Carolyn Adams and the American Dance Legacy Institute, and 
also serves on an advisory panel for Capezio. She first appeared with MMDG in LAllegro in 
August 2005. 

AMBER DARRAGH is originally from Newport, OR, where she began her dance training 
with Nancy Mittleman. She received her B.F.A. from the Juilliard School in 1999 and then 
danced with the Limon Dance Company for two years. She is a recipient of the 2001 Prin- 
cess Grace Award and has presented her own choreography both in New York and abroad. 
Amber joined MMDG in 2001. 

RITA DONAHUE was born and raised in Fairfax, VA, and attended George Mason Uni- 
versity, where she graduated with honors in dance and English in 2002. She danced with 
bopi's black sheep/dances by kraig patterson and joined MMDG in 2003. 




Craig Biesecker and Amber Darragh as Aeneas and Dido at the Brooklyn Academy of Music in 
March 2006, with (background, left to right) Lauren Grant, June Omura, Gregory Nuber, and 
Noah Vinson 






LAUREN GRANT, raised in Highland Park, IL, has danced with MMDG since 1996. 
Before graduating with a B.F.A. from New York University's Tisch School of the Arts, Lauren 
studied ballet from the early age of three. Later, she also trained in character dance, acting, 
and singing. She teaches master classes in ballet and modern technique at schools and uni- 
versities around the world, at MMDG's school in Brooklyn, and for the company as well. 
Lauren is married to fellow dancer David Leventhal. 

JOHN HEGINBOTHAM is from Anchorage, AK, and graduated from the Juilliard School 
in 1993. He has performed with such artists as Susan Marshall and Company, John Jasperse, 
and Ben Munisteri; he was a guest artist with Pilobolus Dance Theater. John's choreography 
is featured in the performances and Emerge music video of recording artists Fischerspooner. 
He joined MMDG in 1998. 

DAVID LEVENTHAL, raised in Newton, MA, has danced with MMDG since 1997. He 
studied at Boston Ballet School and has danced with Jose Mateo's Ballet Theatre and the 
companies of Marcus Schulkind, Richard Colton/Amy Spencer, Zvi Gotheiner, Neta Pulver- 
macher, and Ben Munisteri. He graduated with honors in English literature from Brown 
University in 1995. He teaches master classes in technique and repertory at schools and col- 
leges around the country. He gives classes regularly at MMDG's school, including one for 
people with Parkinson's disease. He is married to fellow dancer Lauren Grant. 

LAUREL LYNCH began her dance training in Petaluma, CA. After a few too many 
Nutcrackers she moved to New York to attend the Juilliard School, where she performed 
works by Robert Battle, Margie Gillis, Jose Limon, and Ohad Naharin. Since graduation in 
May 2003, Laurel has danced for Dusan Tynek Dance Theatre, Sue Bernhard Danceworks, 
Pat Catterson, Stephan Koplowitz, and TEA Dance Company. She performed at the Festival 
Oltre Passo in Lecce, Italy, and appeared as a guest artist with Petaluma City Ballet. Laurel 
first appeared with MMDG in 2006 and became a company member in 2007. 

BRADON MCDONALD received his B.F.A. from the Juilliard School in 1997. He danced 
with the Limon Dance Company for three years and was the recipient of the 1998 Princess 
Grace Award. He has choreographed and presented his own works internationally, served as 
choreographer for seven Juilliard Opera Company productions under director Frank Corsaro, 
and was the choreographic assistant to Donald McKayle at the Alvin Alley American Dance 
Theater. Bradon joined MMDG in 2000. 

DALLAS McMURRAY, from El Cerrito, CA, began dancing at age four, studying jazz, 
tap, and acrobatics with Katie Maltsberger, and ballet with Yukiko Sakakura. He received a 
B.F.A. in dance from the California Institute of the Arts. Dallas performed with the Limon 
Dance Company in addition to works by Jiri Kylian, Alonzo King, Robert Moses, and Colin 
Connor. Dallas joined MMDG as an apprentice in 2006. 

MAILE OKAMURA is originally from San Diego, CA. She was a member of Boston 
Ballet II in 1992-93 and Ballet Arizona from 1993 to 1996. She has danced with choreogra- 
phers Neta Pulvermacher, Zvi Gotheiner, and Gerald Casel, among others. Maile began 
working with MMDG in 1998 and became a company member in 2001. 

JUNE OMURA was born in New York, grew up in Birmingham, AL, and graduated from 
Barnard College with honors in dance and English. She first studied with Mark Morris in 
1986, and joined MMDG in 1988. In 2005 she received a New York Dance and Performance 
Award ("Bessie") for her career with the company. June and her husband are the proud par- 
ents of twin girls, born in 2003, and a new baby boy, born in September 2006. 

NOAH VINSON received his B.A. in Dance from Columbia College Chicago, where he 
worked with Shirley Mordine, Jan Erkert, and Brian Jeffrey. In New York he has danced 
with Teri and Oliver Steele and the Kevin Wynn Collection. He began working with MMDG 
in 2002 and became a company member in 2004. 



JENN WEDDEL grew up in Longmont, CO, and received her early training from Boulder 
Ballet Company. She holds a B.F.A. from Southern Methodist University and also studied at 
the Boston Conservatory, Colorado University, and the Laban Center, London. Since mov- 
ing to New York in 2001, Jenn has performed with RedWall Dance Theatre, Sue Bernhard 
Danceworks, Vend Dance Trio, Rocha Dance Theatre, and with various choreographers 
including Alan Danielson and Connie Procopio. She has presented her own work in Man- 
hattan and continues to collaborate with TEA Dance Company under the direction of Ella 
Ben-Aharon and Sahar Javedani. Jenn joined MMDG as an apprentice in 2006. 

JULIE WORD EN graduated from the North Carolina School of the Arts and joined 
MMDG in 1994. 

MICHELLE YARD was born in Brooklyn, NY, and began her professional dance training 
at the New York City High School of the Performing Arts. Upon graduation she received 
the Helen Tamiris and B'nai Brith awards. For three years she was a scholarship student at 
the Alvin Alley Dance Center, and attended New York University's Tisch School of the Arts, 
where she graduated with a B.F.A. Michelle joined MMDG in 1997. 



The Tanglewood Association of the 
Boston Symphony Association of Volunteers 

and 
The Berkshire Museum 

present 

THE JOYS OF TANGLEWOOD 

with host/commentator Martin Bookspan 

Tuesday mornings from 10-11:30 a.m. at the 
Berkshire Museum, 39 South Street (Rte. 7) in Pittsfield 

July 10: A conversation with conductor/composer/pianist Sir Andre Previn 

July 17: A conversation with conductor Mark Elder 

July 24: "Historic Recordings of Verdi's Don Carlo'' with former Boston Globe 

Music Critic Richard Dyer and BSO Director of Program Publications 
Marc Mandel 

July 31: Composer John Harbison and BSO principal bass Edwin Barker discuss 
the 2007 Festival of Contemporary Music and new music for the double 
bass 
August 7: "Touring the BSO, Yesterday and Today," with BSO Orchestra Manager 
Ray Wellbaum, BSO Personnel Manager Lynn Larsen, and BSO 
Senior Archivist Bridget Carr 

August 14: "Staging Mozart's Cost fan tutte" with director Ira Siffand designers 

John Michael Deegan and Sarah G. Conly 
August 21: A conversation with Boston Pops Laureate Conductor John Williams 

Tickets available by calling The Berkshire Museum at (413) 443-7171, ext. 10. 
Series subscriptions: $65 (available through July 10) • Single tickets (space permitting): $10 



10 



VOCAL FELLOWS OF THE TANGLEWOOD MUSIC CENTER 

KATHERINE WHYTE, soprano (Dido), the recipient of several awards including the Ben 
Heppner Vocal Award and Jessye Norman Award, has performed on opera and concert 
stages across her native Canada and the United States. Ms. Whyte made her Metropolitan 
Opera debut during the 2006-07 season as the First Elf in Richard Strauss's Die agyptische 
Helena. Ms. Whyte is a recent graduate of the Juilliard Opera Center, where she performed 
the role of Betty in the world premiere performance of Lowell Liebermann's Miss Lonelyhearts. 
She holds both Bachelor of Music and Master of Music degrees from the University of 
Toronto. 

YULIA VAN DOREN, soprano (Belinda), was born in Moscow. While still an undergradu- 
ate at the New England Conservatory of Music she was awarded the grand prize in the 
International J. S. Bach Vocal Competition and third prize in the American Bach Soloists' 
Competition, and performed a series of concerts as guest soloist with the baroque ensemble 
Teatro Lirico. Ms. Van Doren is a first-year master's degree candidate at Bard College in the 
new graduate vocal program directed by soprano Dawn Upshaw. 

CHRISTOPHER JOHNSTONE, baritone (Aeneas), is a second-year artist-diploma 
student at Cincinnati-College Conservatory of Music (CCM). He has performed the roles 
of Belcore in L'elisir d'amore, Orestes in Iphigenie en Tauride, Guglielmo in Cost fan tutte y 
Eisenstein in Die Fledermaus, Hanezo in L'Amico, Fritz Strephon in Iolanthe, and Captain 
Walker in The Who's Tommy! among others. Mr. Johnstone earned his Bachelor of Music 
degree from Arizona State University and his Master of Music degree from California State 
University, Long Beach. 

CHRISTIN-MARIE HILL, mezzo-soprano (Sorceress), began her musical career as a jazz 
vocalist in Paris, France. Since transitioning to classical music, she has sung with San Fran- 
cisco Opera's Merola Program, Lyric Opera of Kansas City, Des Moines Metro Opera, Utah 
Festival Opera, Pensacola Opera, and the Connecticut Early Music Festival. She made her 
Tanglewood debut last summer in the U.S. stage premiere of Elliott Carter's What Next? 
under the direction of James Levine. 

STEPHEN NG, tenor (Sailor), was born and raised in Hong Kong. Mr. Ng received his 
doctorate in voice from Indiana University, and his Master of Music degree from the New 
England Conservatory of Music in Boston. His recording of Janacek's The Diary of the One 
who Vanished was recendy released by Clearnote Publications. Mr. Ng is currently an assistant 
professor of voice at Stetson University in DeLand, Florida. 

ILEANA MONTALBETTI, soprano (First Witch), originally from Saskatoon, is a gradu- 
ate of the Opera Diploma program at the University of Toronto. Her roles in the Opera 
Division include Rosalinde (Die Fledermaus), Countess Almaviva (The Marriage of Figaro), 
and Female Chorus (The Rape ofLucretia). She has also appeared as Donna Anna (Don 
Giovanni) with Saskatoon Opera and the Toronto Summer Music Academy and Festival. 
This fall, she will be returning to the University of Toronto to obtain an Advanced Certi- 
ficate in performance. 

KATHRYN LEEMHUIS, mezzo-soprano (Second Witch), is a graduate student at the 
Indiana University Jacobs School of Music. Ms. Leemhuis won first place in the Opera 
Columbus Irma Cooper International Vocal Competition, first place in the Indianapolis 
Matinee Musicale Competition, and was a regional winner in the Metropolitan Opera 
National Council Auditions. Future engagements will find Ms. Leemhuis returning to Opera 
Theatre of St. Louis as Suzuki in Puccini's Madama Butterfly in 2008 and as a featured 
soloist in the Sheldon Concert Hall Artist Recital Series 2008. 

EVE-LYN DE LA HAYE, soprano (Second Woman), is a recent graduate of the University 
of Toronto's Opera Diploma Program and remains a student of Mary Morrison. In her home- 

11 



town of Victoria, B.C., she studied with Selena James at the Victoria Conservatory of Music, 
where she completed her Diploma in Music. She recently made her CBC recording debut in 
the Canadian work Six Voices for Sirens by Ana Sokolovic. This fall she will be joining Calgary 
Opera's Emerging Artist Program for their 2007-08 season. 

REBECCA JO LOEB, mezzo-soprano (Mercury), a New Jersey native, just completed her 
master's degree at the Manhattan School of Music, where she studied with Edith Bers and 
performed the roles of Dorothee in Cendrillon and Madama Brillante in Cimarosa's L'italiana 
in Londra. Ms. Loeb has been Bonfils-Stanton Apprentice at Central City Opera and a 
member of the Aspen Opera Theatre. This fall she will continue her studies at the Juilliard 
School. 

EMILY ALB RINK, soprano, is a native of Louisville, Kentucky. She finished her studies at 
the Manhattan School of Music in May 2007 with a Master of Music and a Professional 
Studies degree as a student of Cynthia Hoffmann. In April, Ms. Albrink made her Carnegie 
Hall debut as part of the Professional Training Workshop with Osvaldo Golijov and Dawn 
Upshaw. In the fall, Ms. Albrink will sing Papagena in Die Zauberflote with Indianapolis 
Opera and Nuria in Ainadamar with Opera Boston and the Chicago Symphony Orchestra. 

MATTHEW ANDERSON, tenor, studied Classics at Harvard University and voice at the 
New England Conservatory. Past performances of opera and musical theater include The 
Turn of the Screw (Quint), The Bartered Bride (Jenik), Orfeo (Shepherd), H.M.S. Pinafore 
(Ralph Rackstraw), Sweeney Todd (Anthony), and Into the Woods (the Baker). He has appeared 
as a soloist with Emmanuel Music's Bach Cantata Series, the Handel and Haydn Society, 
Williamstown Early Music, Musica Maris, Concord Chorus, and Newton Choral Society. 

SIDDHARTHA MISRA, tenor, is currently pursuing a master's degree in opera at 
Temple University, where he recently performed Spalanzani and Pitichinaccio in Les Contes 
d'Hoffmann. Mr. Misra has frequently performed at Center City Opera Theater, including 
Tybalt in Romeo et Juliette and Malcolm in Macbeth. Prior to his work in the Philadelphia 
area, he completed degrees in vocal performance and political science at Northwestern Uni- 
versity. 

MISCHA BOUVIER, baritone, holds degrees from Boston University and the University 
of Cincinnati. Recent and future engagements include Bach's Cantata No. 4 with the Long 
Island Philharmonic; the roles of Bardolph and Chief Justice in Plump Jack with the New 
Mexico Symphony Orchestra and Mexico's Sinaloa Symphony; and the title role in Hercules 
for the American Handel Society at Princeton University. 

PAUL SCHOLTEN, baritone, finished his Bachelor of Music degree in voice performance 
in April at the University of Michigan, where he studied with George Shirley and Martin 
Katz. This is his third summer as a Fellow of the TMC. He will begin work on his master's 
degree this fall at the Cincinnati College-Conservatory of Music under Willima McGraw. 

ULYSSES THOMAS, bass-baritone, is a native of South Carolina and holds music degrees 
from Boston University (Master of Music) and Clayton State University (Bachelor of Music). 
Mr. Thomas currently resides in Boston, continuing his studies at Boston University in the 
doctoral voice program. This summer marks Mr. Thomas's second summer as a Vocal Fellow 
of the Tanglewood Music Center. 




12 




TANGLEWOOD MUSIC CENTER ORCHESTRA 



Violins 1 

Byung-Jin Kang 
Martin Shultz 

(New Fromm Player) 
Alex Russell 
Stephanie Nussbaum 

Violins 2 
Heather Wittels 
Yuki Numata 

(New Fromm Player) 
Jessica Hung 



Violas 

Joshua Kelly 
Nadia Sirota 
(New Fromm Player) 

Cello 

Pei-Chieh Chang 

Double Bass 

Brandon Kelly McLean 



Lute 

Hank Heijink* 

Continuo Harpsichord 

Ernst Munneke 



*Guest Artist 



TMC REHEARSAL PIANISTS: Ernst Munneke, Bonnie Wagner 



MARK MORRIS DANCE GROUP STAFF 

PRODUCTION 

Technical Director: Johan Henckens 
Music Ensemble Director: Wolfram Koessel 
Assistant to the Choreographer: Matthew Rose 
Lighting Supervisor: Leo Janks 
Wardrobe Supervisor: Katherine M. Patterson 
Sound Supervisor: Jim Abdou 

ADMINISTRATION 

General Manager: Aaron Mattocks 
Management Assistant: Adrienne Bryant 
Director of Finance: Elizabeth Fox 
Finance Associate: Ted Hall 

MARKETING/DEVELOPMENT 

Director of Marketing and Development: 

Lauren Cherubini 
Special Projects Manager: Alexandra Pacheco 
Marketing Manager: Christy Bolingbroke 
Development Associate: Jenna Parks 
Development Assistant: Moss Allen 
Office Assistant: Jay Selinger 

EDUCATION 

Director of Education: Eva Nichols 
School Administrator: Diane Ogunusi 
Administrative Assistant: Marc Castelli 

DANCE CENTER OPERATIONS 

Studio Manager: Karyn Treadwell 
Administrative Assistant: Kathleen Cannucci 
Production Manager: Matthew Eggleton 
Music Coordinator: Bruce Lazarus 
Facility Manager : Jose Suarez 
Maintenance: Anthony Baez, David Baez, 
Gregory Collazo 



Booking Representation 

Michael Mushalla 
(Double M Arts 8c Events) 

Media and General Consultation Services 

William Murray 
(Better Attitude, Inc) 

Legal Counsel 

Mark Selinger 
(McDermott, Will & Emery) 

Accountant 

Kathryn Lundquist, CPA 

Orthopaedist 

David S. Weiss, M.D. 
(NYU-HJD Department of Orthopaedic 
Surgery) 

Thanks to Maxine Morris. 

Sincerest thanks to all the dancers for their 
dedication, commitment, and incalculable 
contribution to the work. 

For more information contact: 
MARK MORRIS DANCE GROUP 

3 Lafayette Avenue 
Brooklyn, NY 11217-1415 
Tel: (718) 624-8400 
Fax: (718) 624-8900 
info@mmdg.org 
www.mmdg.org 






Additional funding has been received from the American Music Center Live Music for Dance 
Program; Capezio/Ballet Dancemakers Foundation; ConEdison; Dance Heritage Coalition; The 
Harkness Foundation for Dance; The Iovino Family Foundation; Leon Lowenstein Foundation; 
Materials for the Arts, NYC; McDermott, Will & Emery; The Catherine B. Reynolds Foundation; 
Virgil Thomson Foundation; The Untitled Foundation; USArtists International; and the Friends of 
the Mark Morris Dance Group. 



13 



ESPEARE 

^Company 

openmew worlds 

|j 
MAY 25-S 

Rough Crossing 

by Tom woMfercl 



A Midsummer 
Night's! ream 

by William Shakespeare 
JUlM-SEPT i 

Blue/Orange 

Joe Penhall 

JULY 27-SEPT 2 | 

Antony and Cleopat. 

by William Shakespeare, 
SEPT 28-OCT 28 

The Secret of 
Sherlock Holmes 

by Jeremy PauL- 



wm 



May^ctober 2007 
Lenox, MA 





MM 



Four shows a day on two stages, 
"land FREE Bankside Festival 

Bankside Festival sponsored by Teddi and Francis Laurin 

Tickets ►Shakespeare.org or 413-637-3353 



14 




Tanglewood 



Sunday, July 1, at 8:30 

Florence Gould Auditorium, Seiji Ozawa Hall 

EMERSON STRING QUARTET 

PHILIP SETZER, violin (1st violin in Opus 132) 
EUGENE DRUCKER, violin (1st violin in Opus 130) 
LAWRENCE DUTTON, viola 
DAVID FINCKEL, cello 

ALL-BEETHOVEN PROGRAM 

Quartet No. 15 in A minor, Opus 132 

Assai sostenuto — Allegro 
Allegro ma non tanto 
Molto adagio 
Alia Marcia, assai vivace — 
Allegro appassionato 



C\ 



SEIJI OZAWA HALL 



INTERMISSION 



Quartet No. 13 in B-flat, Opus 130, with 
its original finale, Grosse Fuge, Opus 133 

Adagio ma non troppo — Allegro 
Presto 

Andante con moto ma non troppo 
Alia danza tedesca. Allegro assai 
Cavatina. Adagio molto espressivo 
GROSSE FUGE: Overturn: Allegro— 
Fuga: Allegro — Meno mosso e moderato — 
Allegro molto e con brio — Meno mosso 
e moderato — Allegro molto e con brio 



State Street Global Advisors is proud to sponsor the 2007 Tanglewood season. 



Steinway and Sons Pianos, selected exclusively for Tanglewood 

Special thanks to Delta Air Lines and Commonwealth Worldwide Chauffeured Transportation 

In consideration of the performers and those around you, cellular phones, pagers, 
and watch alarms should he switched off during the concert 

Please do not take pictures during the concert. Flashes, in particular, are distracting to 
the performers and other audience members. 

Note that the use of audio or video recording equipment during performances in the 
Music Shed or Ozawa Hall is prohibited. 

15 



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16 



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NOTES ON THE PROGRAM 



■ 




With the two string quartets on this program we are in the heart of Beethoven's Third 
Period, aka Late Style. In those works he resurrected himself from years of illness and 

creative uncertainty and remade his music from top to bottom, 
at the same time extending and intensifying currents that had 
flowed in his work from early on. 

At the end of his life Beethoven turned away from the heroic 
model that marked his Second Period to an ethical and social 
model no less humanistic, but at the same time intensely spiri- 
tual. The late music is grounded in the human realities of joy 
and suffering and love and physicality, but above it all hovers 
the divine. As ran the epigram from Kant that Beethoven 
kept on his writing desk: "The starry heaven above me, the 
moral law within me." That sense of reflection and interchange 
between human and divine, adumbrated again and again in the music, is one of the ulti- 
mate messages of Beethoven's last works. 

In his own time most of Beethoven's late music was received with a more or less 
respectful incomprehension, with murmurs of the debilitating effects of his deafness and 
the decline of a once-great mind. In the course of the twentieth century admiration for 
these works grew steadily among musicians and public alike, their subtlety and spiritual- 
ity challenging the traditional martial and heroic portrait of the composer. In other 
words, time has certified the power of the late works and tamed their eccentricities, 
without challenging any of their boldness, their mystery, their startling modernity. It can 
be argued that it is Beethoven's Third Period, rather than the heroic Second, that most 
belongs to us today. 

String Quartet No. 15 in A minor, Opus 132 (1825) 

I. Assai sostenuto — Allegro. We hear the utter freshness of Beethoven's late voice in the 
first three phrases of the A minor quartet, Opus 132: a quiet, austere opening followed 
by a crashing chord from which a violin scurries down and up like a bat out of hell, fol- 
lowed by the first theme proper, a breathlessly yearning, haunting melody that will 
dominate the movement. In those jolting changes of gear we find foreshadowed a work 
of stark contrasts unified by underlying patterns of melody, harmony, rhythm, and gesture. 

In microcosm, there we see much of Beethoven's late style. It is more of everything: 
more intense unto violent contrasts joined with stretches of minimalistic obsession; 
more simplicity juxtaposed with the most arcane complexity; more experimentation 
with traditional forms; more concern with counterpoint, from the equality of the four 
voices in a quartet to the traditional genres of fugue and canon; and long harmonic 
stretches with no resolution, the effect of which can range from anguished to transcen- 
dent. 

Another mark of the late music is the union of mystery and surprise, even shock, 
with a profound inner logic: The quiet opening of the A-minor quartet captures us with 
its mystery; meanwhile the four-note motive that it turns over and around is the funda- 
mental motive of the quartet, at the same time outlining its whole tonal structure (that 
motif turns up also in the companion quartets Opus 130 and Opus 131); the ensuing 
jump from quiet and austere to loud and passionate foreshadows events all the way to 
the dichotomies of the third movement. 

The tone of the A minor's first movement is peculiarly poignant; call it poised between 
sorrow and hope. The second theme begins blithely in F major until a poignant stab 
sends it in another direction. We are in sonata form, though there is no repeat of the 



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17 



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exposition, and the recap apparently starts in the wrong key, followed by a second recap 
in the right key. Typically for the late music, Beethoven uses an old form as foundation 
but turns it to new purposes; here he suppresses and rearranges familiar formal land- 
marks to make a through-composed effect. 

II. Allegro ma non tanto. If the third movement will make manifest that the core of 
the quartet is sorrowful if not without hope, the second-movement scherzo is an ineffa- 
bly droll holiday. It begins with rising figures based on the first-movement's opening 
bars, then presents a quirky little tune that simply refuses to leave, but rather dances 
chirpily on through kaleidoscopic changes of key and texture in a classic display of 
Beethovenian minimalism. The middle-section Trio is another stunning shift of gears, 
its main theme an ethereal musette, in imitation of old bagpipe drones. 

III. Molto Adagio. The third movement is perhaps the most famous in the late 
music. Here the composer steps from behind the curtain and tells us what the move- 
ment's bifurcating directions are about: solemn and archaic music, in tone and harmony 
recalling Renaissance sacred choral works, labeled on the score, "Holy song of thanks 
to God from a convalescent, in Lydian mode." The joyful dance that twice interrupts 
the song of thanks is headed, "Feeling new strength." (Here is the destination of the 
stark dichotomy presented in the first seconds of the quartet.) In other words, the third 
movement joins the sublime and otherworldly to the lustily worldly. 

IV. Alia Marcia, assai vivace. Beethoven spent months considering how to follow that 
uncanny third movement. For a while he had a gentle dance called "Alia danza tadesca," 
but then he put that movement into the Opus 132 quartet and replaced it with a short, 
jaunty Alia Marcia, assai vivace that jolts us out of the song of thanksgiving. V. Allegro 
appassionato. After what seems only the first half of a longer march movement comes 
an even more wrenching jolt: the first violin erupts into an impassioned quasi-recitative, 




The quartet joins 

an internationally 

recognized faculty, 

plays a central role 

in the Stony Brook 

Chamber Music 

Program, and directs 

the Emerson Quartet 

International Chamber 

Music Workshop. 



Emerson String Quartet 

Eugene Drucker, Violin • Philip Setzer, Violin 
Lawrence Dutton, Viola • David Finckel, Cello 

Chamber Music Faculty includes 

Elaine Bonazzi • Colin Carr • Joseph Carver • Kevin Cobb 
Christina Dahl • Pamela Frank • Daniel Gilbert • Gilbert Kalish 
Eduardo Leandro • Timothy Long • Frank Morelli • Kathryn 
Murdock • Michael Powell • William Purvis • Stephen Taylor 
Chris Pedro Trakas • Carol Wincenc 



For more information, visit our Web site 
www. stony brook, edu/music 
or call (631) 632-7330. 

Stony Brook University/SUNY is an affirmative action, 
equal opportunity educator and employer. 



STfMMY 
BR€#K 

STATE UNIVERSITY OF NEW YORK 



18 



which forms the transition to the Allegro" appassionato finale. The last movement is a 
dancing, surging, sighing three-beat rondo, relatively straightforward, merely unforget- 
tably beautiful. 

String Quartet No. 13 in B-flat, Opus 130, with its original 

"Grosse Fuge" finale, Opus 133 (1825-26) 
If the A minor quartet is a study in integration, the B-flat major quartet, Opus 132, 
is a study in dissociation verging on disintegration, the kind of thing that once evoked 
rumors of madness in the old composer — especially relating to the original finale, the 
Great Fugue. The last piece Beethoven wrote was a kinder, gentler substitute finale for 
this quartet, replacing the notorious fugue. Which is the real finale? What does all this 
mean? 

One should add that most of Opus 132 is neither crazed nor tragic but comic, if sub- 
tly so. Call the B-flat the trickster brother of the A minor quartet. 

I. Adagio ma non troppo — Allegro. Both the A minor quartet and the B-flat quartet 
begin nearly the same way, with a quiet solemn passage (both involving the same motif), 
then a sudden loud, dashing violin solo — but here the bat out of hell is laughing. Again 
we are in a warped sonata form, the solemn introduction popping up in various disguis- 
es, all amounting to fifteen drastic changes of tempo and tone in the movement. But 
the disruptions on the whole are in a spirit of irony and gaiety, though the short devel- 
opment sounds like a pensive and haunting interlude on a hurdy-gurdy. 

II. Presto. All the quartet's movements are compact, the scherzo of the second move- 
ment absurdly so: two repeated phrases obsessing on a snarky little motif, a helter-skel- 
ter Trio, great sighs from the first violin, and a repeat, all adding up to about two min- 
utes. III. Andante con moto ma non troppo. We expect a slow movement to follow the 
scherzo, and we do get an Andante, but subtitled "Poco scherzoso" a little jokingly. It's a 
bouncingly genial movement involving some extraordinarily fresh textures and colors. 
IV. Alia danza tedesca. Allegro assai. As fourth movement comes the wistfully lyrical 
three-beat lilt of the Alia danza tedesca ^tedesca" means "German"). 

V. Cavatina. Adagio molto espressivo. In the late music Beethoven not only experi- 
mented with form within movements, he also varied the old four-movement pattern; in 
the B-flat quartet there are six movements. Another tendency is to break from the clear 
narrative structures of the middle period (reflected, for example, in the Eroica Symphony) 
to more ambiguous and poetic unfoldings. 

So after movements say comic, ironic, dancing, wistful, comes the Cavatina, one of 
the most elegaic and tragic of all movements by Beethoven or anyone else. He said he 
had never been so emotionally affected in composing a piece. Though the movement is 
some seven minutes, it seems much longer, partly because it has one of those wide-arch- 
ing, time-stopping melodies that mark the late slow movements. The manifestly sob- 
bing last section is marked "Beklemmt" "anguished." 

VI. Grosse Fuge. From comedy to anguish, to what? The Grosse Fuge y Great Fugue, 
music's 300-pound gorilla. For over a century it was generally despised and rejected in 
favor of Beethoven's light and ironic replacement movement. There had been nothing 
in music approaching the Great Fugue's fortissimo ferocity, its manic and relentless 
counterpoint enfolding a row of arcane technical procedures (inversion, retrograde, aug- 
mentation, diminution), its form seeming to enfold several movements in one. Nothing 
would approach its dissonance and aggression until the early work of Stravinsky and 
Schoenberg. (Stravinsky loved this movement.) Like Stravinsky's Rite of Spring and 
Schoenberg's Five Pieces for Orchestra, the Great Fugue has never lost its capacity to 
shock; it is eternally avant-garde. Probably for that reason, more and more groups are 









19 



performing the quartet with the fugue rather than the substitute finale. In our time we 
appreciate the inexplicable, even the grotesque. 

What does the Great Fugue mean to the whole? Only God and Beethoven knew for 
sure. Many guesses have been proffered, the more relevant ones reminding us that the 
essence of the B-flat major quartet is paradox. Beethoven the supreme master of form 
and unity used all his craft to conjure a vision of disunity unto chaos, comic in tone 
some of the time, but in the end more provoking than joking. 

In any case, the Great Fugue is unquestionably the true finale of this most enigmatic 
of string quartets. This finale enfolds motifs, rhythms, styles from each of the other 
movements. (Its main motif is the same as the A minor quartet's.) But though the 
Great Fugue begins in violence, as if a kind of return and revenge of the old contrapun- 
talists, near the end it arrives at a gende and good-humored Allegro molto e con brio. The 
gendeness and brio last to the end, and maybe there is the point: This epic, mad fugue 
begins in fury, but it ends in beauty. 

— Jan Swafford 

Jan Swafford is an award-winning composer and author whose books include Charles Ives: A 
Life With Music, The Vintage Guide to Classical Music, and Johannes Brahms: A Biography. His 
music is published by Peer-Southern and can be heard on Composers Recordings. An alumnus 
of the Tanglewood Music Center, where he studied composition, he teaches at Tufts University 
and The Boston Conservatory. Mr. Swafford is currendy working on a biography of Beethoven 
for Houghton Mifflin. 




ARTISTS 

Emerson String Quartet 

Acclaimed for its insightful performances, 
dynamic artistry, and technical mastery, 
the Emerson String Quartet has amassed 
an impressive list of achievements: a series 
of recordings exclusively documented by 
Deutsche Grammophon since 1987; eight 
Grammy Awards, including two for "Best 
Classical Album," an unprecedented honor 
for a chamber music group; three Gramophone 
Awards, and performances of the complete cycles of Beethoven, Bartok and Shostakovich 
quartets in major concert halls throughout the world. The ensemble is lauded globally as a 
string quartet that approaches both classical and contemporary repertoire with equal mastery 
and enthusiasm. For three decades, the group has collaborated with such artists as Emanuel 
Ax, Misha Dichter, Leon Fleisher, the Guarneri String Quartet, Thomas Hampson, Lynn 
Harrell, Barbara Bonney, Barbara Hendricks, the Kalichstein-Laredo-Robinson Trio, Paul 
McCartney, Menahem Pressler, Mstislav Rostropovich, David Shifrin, Richard Stoltzman, 
and the late Isaac Stern and Oscar Shumsky. In 2006-07 the Emerson Quartet celebrates its 
30th Anniversary Season with an eight-concert Perspectives Series at Carnegie Hall entided 
"Beethoven In Context," juxtaposing Beethoven's quartet repertoire with notable composi- 
tions spanning three centuries (including a quartet commissioned by Carnegie Hall from 
Kaija Saariaho for the quartet's thirtieth anniversary and this project). Also this season the 
Emerson celebrated twenty years of exclusivity with Deutsche Grammophon, with the 
release of the three Brahms quartets and the piano quintet with Leon Fleisher. Additional 
performances of note include a Shostakovich cycle at Washington's Kennedy Center for the 
Performing Arts and an extensive European tour including concerts in London, Vienna, 
Prague, Berlin, and Paris, and complete Beethoven cycles in Valencia and Badenweiler. The 
quartet also continues its residency at the Smithsonian Institution in Washington, DC, now 



20 



in its twenty-seventh sold-out season. In the fall of 2002, the Emerson joined Stony Brook 
University as quartet-in-residence, coaching chamber music, giving master classes, and pro- 
viding instrumental instruction. The ensemble conducted its first International Chamber 
Music Festivals at Stony Brook in June 2004 and 2006, with plans for a third Festival in 
2009. In addition the group performs several concerts during the year at Stony Brook's 
Staller Center for the Arts, and continues its educational affiliation with Carnegie Hall; this 
season the quartet offers its third Professional Training Workshop at Carnegie's Weill Music 
Institute. The Emerson Quartet was named "Ensemble of the Year" in 2000 by Musical 
America and became the eighteenth recipient of the Avery Fisher Prize in March 2004 — a 
first for a chamber ensemble. Dedicated to the performance of classical repertoire, the 
Emerson String Quartet also has a strong commitment to the commissioning and perform- 
ance of 20th- and 21st-century music. Important commissions and premieres include com- 
positions by Nicholas Maw, Andre Previn, Joan Tower, Ellen Taaffe Zwilich, Edgar Meyer, 
Ned Rorem, Wolfgang Rihm, John Harbison, Gunther Schuller, and Mario Davidovsky. 
The group has performed numerous benefit concerts for causes ranging from nuclear disar- 
mament to the fight against AIDS, world hunger, and children's diseases. The quartet mem- 
bers were honored by the Governor of Connecticut for their outstanding cultural contribu- 
tions to the state, and in 1994 received the University Medal for Distinguished Service from 
the University of Hartford, where they were quartet-in-residence for two decades until 2002. 
In 1995, each member was awarded an honorary doctoral degree by Middlebury College in 
Vermont. They have also received a Smithson Award from the Smithsonian Institution. In 
2006, the quartet received an honorary doctorate from Wooster College, where it has per- 
formed frequently. To commemorate its 25th Anniversary Season, the Emerson Quartet a 
commemorative book, using previously unpublished material from the Emerson's private 
archives, entitled Converging Lines. Formed in 1976, the bicentennial year of the United 
States, the Emerson String Quartet took its name from the great American poet and philoso- 
pher Ralph Waldo Emerson. Violinists Eugene Drucker and Philip Setzer alternate in the 
first chair position and are joined by violist Lawrence Dutton and cellist David Finckel. 



I 










21 



CELEBRATING A MILESTONE 

This season, the Juilliard String Quartet marks its sixtieth anniversary with 
performances of the Bartok string quartets. The Juilliard has been associated 
with this music virtually throughout the ensemble's history: it was the "origi- 
nal" Juilliard String Quartet (violinists Robert Mann and Robert Koff, violist 
Raphael Hillyer, and cellist Arthur Winograd) that gave the first performance 
in America of the complete cycle — atTanglewood on July 10 and 17, 1948, 
in the old Theatre-Concert Hall, at the invitation of BSO conductor Serge 
Koussevitzky (Nos. 3, 2, and 5 on July 10; Nos. 4, 1, and 6 on July 17). In fact, 
the BSO connection ran deeper: the ensemble was introduced to the music 
by then BSO violist Eugene Lehner, a former member of the famed, Vienna- 
based Kolisch Quartet (with which he had played the premieres of Bartoks 
Third and Sixth quartets) and, following his move to the United States, a 
member of the Boston Symphony from 1939 to 1982. Lehner also coached 
the Juilliards in preparation for the Tanglewood concerts. 

To that time, individual Bartok quartets had been performed in the United 
States by a number of European and American ensembles (the Kolisch among 
them); but those two Tanglewood concerts in 1948, and a repeat performance 
in New York in March and April 1949, marked a major stage in the musical 
world's recognition of the cycle's importance. Though the music was long 
deemed difficult, strange, and inaccessible, the Juilliard continued to play fur- 
ther cycles in subsequent years, and also recorded the cycle three times, first in 
1949 and then again as issued in 1963 and 1983. By the 1970s, thanks largely 
to the Juilliard's consistent and continuing advocacy, the importance and sig- 
nificance of the music was finally and firmly acknowledged. In 2006-07, the 
Juilliard String Quartet gives seven performances of the complete cycle (six 
in the United States and one in Tokyo), plus additional performances of the 
quartets as they tour the United States, Europe, and the Far East. Tonight's 
Tanglewood concert recalls the Tanglewood event of 1948, when the ensemble 
was just two years old. 

Here is current Juilliard violist Samuel Rhodes on this music: "The inherent 
vitality, originality, folk-like accessibility, and intellectual substance have grad- 
ually caused the Bartoks to be assimilated as part of the standard repertoire. 
Now, any string quartet worthy of the name must have them as part of its 
repertoire. We are proud that our conviction as to the value of the Bartoks, 
and our persistence in performing and teaching them, have played some role 
in causing them to be repertoire pieces. Our belief in their importance contin- 
ues as we feature them to represent us during our Sixtieth Anniversary Season." 




22 







T^lewood 



%'M n 



SEIJI OZAWA HALL 



Thursday, July 5, at 8:30 

Florence Gould Auditorium, Seiji Ozawa Hall 

JUILLIARD STRING QUARTET 
JOEL SMIRNOFF, violin 
RONALD COPES, violin 
SAMUEL RHODES, viola 
JOEL KROSNICK, cello 

ALL-BARTOK PROGRAM 

Celebrating the 60th Anniversary of the Juilliard String Quartet 

String Quartet No. 2, Opus 17 

Moderato 

Allegro molto capriccioso 

Lento 

String Quartet No. 4 

Allegro 

Prestissimo, con sordino 
Non troppo lento 
Allegretto pizzicato 
Allegro molto 



INTERMISSION 

String Quartet No. 6 

Mesto — Vivace 

Mesto — Marcia 

Mesto — Burletta: Moderato 

Mesto 



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In consideration of the performers and those around you, cellular phones, pagers, 
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Please do not take pictures during the concert. Flashes, in particular, are distracting to 
the performers and other audience members. 

Note that the use of audio or video recording equipment during performances in the 
Music Shed or Ozawa Hall is prohibited. 

23 



Jacob's Pillow 




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75 th 
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Lyrics by Stephert*Sondheim 

Entire original production directed and 
choreographed by Jerome Robbins 

Choreographed by Joshua Bergasse 
Directed by Julianne Boyd 

BLACK COMEDY 
7/19u8/4 

By Peter Shaffer 
Directed by Lou Jacob 

UNCLE VANYA 
8/9-26 

By Anton Chekhov 
Translated by Paul Schmidt 
Directed by Julianne Boyd 

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Crimes of the Heart 

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24 



NOTES ON THE PROGRAM 



The string quartet has a long and noble tradition from the great examples of the Classi- 
cal era to our day. It became for many the quintessential chamber music form, the one 
composers most wanted to conquer. The difficulty in the quartet is the necessity of lim- 
iting the musical ideas to four parts, while at the same time writing so that each of the 
parts has its own independent character. The limitation to four parts reveals clearly any 
misjudgment on the composer's part (no bringing in a whole section of other instru- 
ments to cover up the error), so that the ability to compose consistently strong string 
quartets has long been regarded as one of the supreme tests of a composer. Bartok's six 
string quartets represent one of the most consistent and significant contributions ever 
made to the genre; he worked in the medium from his early years to the end, and was 
planning a seventh quartet in 1944, within a year of his death. 

String Quartet No. 2, Opus 17 

Bartok's Second String Quartet was among the first of a series of compositions that came 
in a great upsurge of activity following several years of enforced artistic isolation, begun in 
1912, when, tired of struggling with the inevitable disappointments of finding performers 
and audiences for his new music, he withdrew from active music-making and devoted 

himself predominantly to his researches into the folk song of 
Hungary, Rumania, and North Africa. His absorption with his 
native folk music was soon to bear rich fruit, however, in the 
works that appeared from 1917, beginning with the ballet The 
Wooden Prince, which had a successful production in Budapest. 
That was followed on March 8, 1918, by the premiere of the 
Second String Quartet, performed by the Waldbauer-Kerpely 
Quartet to which it was dedicated. Bartok's years of folk song 
study paid off in a completely new musical approach to the 
problem of employing popular materials in a serious, advanced 
composition. Rather than simply quoting folk melodies and 
harmonizing them in a style typical of art music (as so many earlier composers had 
done, completely changing the character of the original materials in the process), Bartok 
seems to have absorbed all of Hungarian folk music within himself and to have created 
a music that at every point sounds Hungarian in its intervals, rhythms, textures, and 
sonorities, without the naivete of earlier composers' folk music essays. As his biographer 
Halsey Stevens notes, "The whole direction of Bartok's later writing might be deduced 
from this one work." Audiences found it difficult to follow at first, but in a few years it 
became Bartok's most popular string quartet and his first to be committed to disc. 

I. Moderate The work is constructed in three movements of which the second is the 
most dynamic; it is surrounded by a lyric first movement and a pensive finale. The 
material grows out of motives rather than themes, especially the first five notes of the 
first violin (which present a sequence of fourths — perfect, augmented, and diminished). 
The fourths themselves are an important interval in the piece, but at the same time the 
contour grows, enlarging its span, but retaining the basic shape, in a series of continuous 
variations in a steady, onward flow. 

II. Allegro molto capriccioso. The second movement is rhythmic and forceful, even 
brutal, in its assertion of repeated-note patterns against highly chromatic dancelike 
melodies. The repeated notes (such as the octave D's in the second violin, reiterated 
more than one hundred times following the eight introductory measures) serve as a kind 
of drone — inspired, perhaps, by folk instruments — to ground the tonality even when the 




25 




melodic lines are intensely chromatic. 

III. Lento. After all the energy expended in the second movement, the final Lento, 
reflective in mood, is built up in sections that progress chainlike from one to the other, 
linked by some important common intervals, especially fourths and minor seconds, 
which had been featured prominently earlier in the quartet as well. The style, the struc- 
ture, and the expressive means employed in the Second Quartet reveal the genuine, 
mature master who progressed in various ways during the coming decades, but whose 
fundamental qualities are already fully apparent in this powerful work. 

String Quartet No. 4 

No work of Bartok's has been more discussed than the Fourth Quartet, the most extra- 
ordinary achievement of construction, building an expansive work with rigorous logic 
from a small amount of material. The work was composed between July and September 
1928 and first performed the following March. It followed the Third Quartet by just a 
year, and shares with that earlier piece a predilection for linear writing, for motives con- 
sisting of narrow intervals employed in dissonant ways, and for a new expansion of 
instrumental technique. 

The Fourth Quartet is shaped, like so many Bartok works, in an arch form, with the 
first movement (I. Allegro) and fifth movement (V. Allegro molto) sharing musical 
material and character, the second and fourth movements serving as twin scherzos 
which flank the middle (third) movement. That third movement, the centerpiece of the 
quartet, is a classic example of Bartok's characteristic "night music," but it, too, is in an 
ABA form, a simple arch, and thus mirrors the basic shape of the quartet as a whole. 

The basic motive of the first movement appears in the cello after a few bars of intro- 
duction. It is gruff and assertive, a six-note figure consisting entirely of half-steps in a 
characteristic rhythm. This figure generates variants, starting with simple expansions, 





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throughout the first and last movements; they develop logically and clearly from one to 
another, eventually leading to forms so different from where they started that one would 
be hard put to identify them without the intervening links. 

The second and fourth movements each feature a special mode of playing, which gives 
a characteristic sonority to each movement: with mutes in the second (II. Prestissimo, 
con sordino), and plucked in the fourth (IV. Allegretto pizzicato). They are both based 
on a theme consisting of chromatic lines rising and falling. 

The central movement (III. Non troppo lento) begins with the slow unfolding of a 
six-note chord sustained in the three upper parts without vibrato. Then, as the cello 
begins an impassioned song of markedly Hungarian mood, the other strings begin a 
vibrato, the resulting effect being one of a sudden warmth coming to a chill environment. 
This alternation continues throughout the main section. A twittering middle section 
(with the first violin against three lower parts in sustained chords) leads to an agitated 
passage led by the second violin. Eventually a tranquil opening mood is reestablished, 
with both cello and the first violin sharing the lead. 

The harmonic density of the Fourth Quartet (partly a product of the piling up of the 
semitones that make up the basic motive of the work) is intense; on a first hearing the 
work can seem opaque, incomprehensible. But close attention to the linear flow will un- 
lock the door to one of the most remarkable and powerful scores written in this century. 




String Quartet No. 6 

Bartok began his last string quartet in Switzerland late in the dark summer of 1939, 

when all Europe was watching for war clouds on the horizon. On August 17 Bartok 

finished his Divertimento for String Orchestra while staying 
in Switzerland at the home of Paul Sacher, who had commis- 
sioned the work for his Basel Chamber Orchestra. The next 
day he wrote to his son Peter that he was turning at once to 
another commission from the New Hungarian Quartet for a 
new string quartet. He indeed made a start on the new work 
in Switzerland, but he did no finish it until November, by 
which time he had returned to Budapest and the long-antici- 
pated war had broken out. Bartok left Europe soon after and 
lost touch with the New Hungarian Quartet; in the end he 
dedicated his new score to the Kolisch Quartet, who were also 
in exile, and who played the world premiere in New York in 1941. 

Listeners who have pursued the course of Bartok's development in the string quartet 
will find his last work in the medium something of a surprise. First of all, it does not 
make use of the arch form that was so striking a feature of several of the earlier quartets 
(and many other Bartok compositions as well). And it keeps harping on an introspective 
theme marked "Mesto" ("sad"), heard at the outset in the solo viola, that is far from the 
assertive nature of so many of the earlier quartet themes and even of the main materials 
of the first three movements. Yet this sad theme will ultimately put its seal on the piece. 
But before that happens, the main theme of the first movement (I. Mesto — Vivace) 
grows before us, slow and heavy, before taking off in a lively 6/8 that takes on varying 
rhythmic guises adapted from Hungarian folk dance. 

II. Mesto — Marcia. The second movement begins with a new statement of the Mesto 
theme, in the cello, with a countermelody presented in an extraordinary color, spread 
through three octaves in unison, with the second violin and viola playing tremolo while 
the first violin plays legato. This time it is followed by a crisp march, the middle section 
of which grows quite rhapsodic before returning to the march. 



27 



III. Mesto — Burletta: Moderato. The third movement opens with the Mesto theme 
again, now cast in three parts, with the viola belatedly joining the first violin. Suddenly 
the Burletta erupts, filled with grotesqueries presented by expanded playing techniques, 
some of them new to the quartets. After these violent contrasts, a contrasting Andantino 
section sounds very tender and expressive, but is routed by a return of the earlier material. 

IV. Mesto. The Mesto theme that had introduced each of the earlier movements 
finally comes into its own as the principal material of the finale, whose restraint is all 
the more powerful after the unbuttoned character of the preceding movement. The pre- 
vailing mood of gloom is lightened here and there, but in the end, Bartok's vision is dark 
and despairing. 

— Steven Ledbetter 

Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 
1998; in 1991 his BSO program notes received an ASCAP/Deems Taylor Award. He now 
writes program notes for orchestras and other ensembles throughout the country, and for such 
concert venues as Carnegie Hall. 




ARTISTS 

Juilliard String Quartet 

The Juilliard String Quartet is internationally 
renowned and admired for performances 
characterized by a clarity of structure, beauty 
of sound, purity of line, and an extraordinary 
unanimity of purpose. Celebrated for its per- 
formances of works by composers as diverse 
as Beethoven, Schubert, Bartok, and Elliott 
Carter, it has long been recognized as the 
quintessential American string quartet. Octo- 
ber 11, 2006, marked the Juilliard Quartet's sixtieth anniversary, with a day of nationwide 
public radio programming devoted to interviews with the Juilliards and their discography. A 
year-long celebration continues, landmarks of which are the quartet's performance of seven 
complete Bartok cycles (the Juilliard played the American premiere of the cycle at Tangle- 
wood in 1948) in major cities throughout the U.S. and Japan, beginning with a two-concert 
cycle at Alice Tully Hall in New York in November. In honor of both the Juilliards' sixtieth 
birthday and the Shostakovich centennial, Sony BMG Masterworks released a two-disc set 
of the Juilliard Quartet's recordings of Shostakovich quartets 3, 14, and 15, and the piano 
quintet with Yefim Bronfman. In addition, the Juilliard celebrated Mozart's 250th birthday 
by performing the quartets K.421, 428, 465, newly informed by first-edition manuscripts 
donated to the Juilliard School last season. Further touring in America includes concerts in 
Philadelphia, Massachusetts, Connecticut, California, Florida, Tennessee, Indiana, North 
Carolina, Virginia, Ohio, and stops throughout Texas. Abroad, the Juilliard Quartet appears 
in London's Wigmore Hall, Turkey, The Netherlands, Germany, Russia, Finland, and the 
Palau de la Musica in Barcelona, Spain, and returns to Japan for a two-week tour at the end 
of the season. In 2003, the Juilliard Quartet marked its fortieth anniversary as Quartet in 
Residence at the Library of Congress in Washington with a twelve-concert complete Beetho- 
ven cycle interspersed with works by American composers whose works the ensemble has 
championed throughout its existence. Succeeding the Budapest Quartet in 1962, the Juilliard 
Quartet acquired a devoted following in Washington, where they perform on a set of price- 
less Stradivari instruments donated to the Library in 1936 by Mrs. Gertrude Clarke Whittall. 
As quartet-in-residence at New York City's Juilliard School, the Juilliard String Quartet is 
widely admired for its seminal influence on aspiring string players around the world and con- 
tinues to play an important role in the formation of new American ensembles. In a momen- 



28 



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tous occasion at Tanglewood in 1997, the Juilliard String Quartet's founder and first violinist 
Robert Mann retired from the group after fifty years. Earlier that season, Musical America 
named the quartet "Musicians of the Year," making it the first chamber ensemble ever to 
appear on the cover of the publication's annual International Directory of the Performing 
Arts. Over the years, the Juilliard String Quartet has performed a comprehensive repertoire 
of some 500 works, ranging from the great classical composers to masters of the current cen- 
tury. It was the first ensemble to play all six Bartok quartets in the United States, and it was 
through the group's performances that the quartets of Arnold Schoenberg were rescued from 
obscurity. The group has premiered more than sixty compositions of American composers, 
including works by some of America's finest jazz musicians, and has been a persuasive advo- 
cate for the string quartets of Elliott Carter, a landmark recording of those works being 
issued in 1991 by Sony Classical, with which company (in its various incarnations) the 
ensemble has been associated since 1949. The members of the Juilliard String Quartet are 
all American-born and -trained. Violinist Joel Smirnoff, a native of New York City and a 
former Boston Symphony violinist, joined the quartet as second violin in 1986 and has been 
the ensemble's leader since 1997. Chair of the Juilliard violin department, he also pursues an 
active career as a conductor. Arkansas-born violinist Ronald Copes joined the Juilliard String 
Quartet as second violinist and was appointed to the Juilliard violin faculty in 1997. Violist 
Samuel Rhodes, also a New York native, is celebrating his thirty-sixth season as violist of the 
Juilliard String Quartet and faculty member and chair of viola at the Juilliard School. Con- 
necticut native Joel Krosnick , chair of Juilliard's cello department since 1994, has been cellist 
of the Juilliard String Quartet and a Juilliard faculty member since 1974. 




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29 




Tanglewood 




Monday, July 9, at 8:30 

Florence Gould Auditorium, Seiji Ozawa Hall 

THE PHYLLIS AND LEE COFFEY MEMORIAL CONCERT 

TANGLEWOOD MUSIC CENTER ORCHESTRA 
STEFAN ASBURY, ERIK NIELSEN (TMC Conducting Fellow), 
and KAZEM ABDULLAH (TMC Conducting Fellow), conductors 



SEIJI OZAWA HALL 



RAVEL 



BARTOK 



Le Tombeau de Couperin 

Prelude 
Forlane 
Menuet 
Rigaudon 

ERIK NIELSEN conducting 

Suite from the one-act Pantomime 

The Miraculous Mandarin 

KAZEM ABDULLAH conducting 



INTERMISSION 



HOLST 



The Planets, Suite for large orchestra, Opus 32 

Mars, the Bringer of War (Allegro) 
Venus, the Bringer of Peace (Adagio) 
Mercury, the Winged Messenger (Vivace) 
Jupiter, the Bringer of Jollity (Allegro giocoso) 
Saturn, the Bringer of Old Age (Adagio) 
Uranus, the Magician (Allegro) 
Neptune, the Mystic (Andante) 

WOMEN OF THE BOSTON UNIVERSITY 
TANGLEWOOD INSTITUTE CHORUS, 
ANN HOWARD JONES, conductor 

STEFAN ASBURY conducting 



Steinway and Sons Pianos, selected exclusively for Tanglewood 

Special thanks to Delta Air Lines and Commonwealth Worldwide Chauffeured Transportation 

In consideration of the performers and those around you, cellular phones, pagers, 
and watch alarms should be switched off during the concert 

Please do not take pictures during the concert. Flashes, in particular, are distracting to 

the performers and other audience members. 
Note that the use of audio or video recording equipment during performances in the 

Music Shed or Ozawa Hall is prohibited. 

30 



'.■.■'■■'•' Ba . . -•• 



NOTES ON THE PROGRAM 



Maurice Ravel (1875-1937) 
he Tombeau de Couperin 

During the sixteenth and seventeenth centuries, French poets frequently wrote short 
poems, or assembled collections of such poems, commemorating the death of a notable 
person. Such poems were called "tombeaux" ("tombstones"). Usually the deceased was of 
the high nobility, though occasionally the death of a great poet, like Ronsard, might 
generate an outpouring of literary tributes. During the seventeenth century the tombeau 
tradition was adopted by French composers, who wrote their works most frequently for 
solo lute or solo harpsichord, usually in the form of a slow, stately dance movement. A 

group of French composers in the late nineteenth and early 
twentieth centuries, concerned with recapturing some of the 
history of the French musical tradition, began reusing the 
neoclassical dance forms in their compositions. Ravel was the 
first to reuse the term tombeau, in his tribute to his great pred- 
ecessor Francois Couperin (1668-1733), whose music shares 
with Ravel's own a characteristic concern for grace, elegance, 
and decoration. 

The original piano-solo version of Le Tombeau de Couperin 
f ._.^ , occupied Ravel for some three years, on and off, during the 

! devastating course of World War I, which was personally 
shattering to him. The piano work was a tombeau not only to the Baroque composer 
Couperin but also to deceased friends — each of the six movements was dedicated to a 
victim of the war. The piano version contained six sections (Prelude, Fugue, Forlane, 
Rigaudon, Menuet, and Toccata). When Ravel decided to orchestrate the work in 1919, 
he omitted the Fugue and Toccata entirely and reversed the positions of the Menuet 
and Rigaudon. 

The music of Ravel's Tombeau is not really an evocation of Couperin's style — not even 
in a very extended way. Ravel simply hoped to pay tribute to the entire French musical 
tradition (then evidently under attack — culturally as well as militarily — from Germany). 
In its orchestral guise, the Prelude, with its running sixteenth-note figurations, makes 
extended demands on the articulation and breath control of the woodwind players, 
especially the oboist. The Forlane is fetchingly graceful, delicate, and highly polished. 
(Oddly enough, given Ravel's evident intention of commemorating French music, the 
forlane is an old dance from Italy, not France.) Ravel was especially fond of the Menuet, 
which was the last music to be seen on his music rack when he died in 1937. The Rigau- 
don, with its brassy outbursts, brings the Tombeau to a cheerful and lively conclusion. 




BelaBartok (1881-1945) 

Suite from The Miraculous Mandarin, Pantomime in one act, Opus 19 

The Miraculous Mandarin (composed 1918-19; orchestrated 1923) was the third and last 
of Bartok's major compositions for the theater; though still in his thirties when he com- 
pleted the draft score, with almost half his life yet to live, he never again wrote for the 
stage. Evidently the difficulties he suffered in bringing The Miraculous Mandarin to a 
full theatrical performance soured him forever on the theater, turning him decisively to 
abstract instrumental composition. This is a pity, since the score reveals a composer of 



State Street Global Advisors is proud to sponsor the 2007 Tanglewood season. 



31 



-» 




remarkable dramatic temperament, one who can establish setting and character in his 
music with ease. Following upon his opera Bluebeard's Castle and his ballet The Wooden 
Prince, The Miraculous Mandarin gives us a Bartok fully matured in his musical style, 
having absorbed the folk elements of his native country as well as the latest trends in 
avant-garde music from elsewhere in Europe. 

Bartok's scenario is adapted from a lurid, violent story by Menhort Lengyel. The set- 
ting is a brothel bedroom. At the rise of the curtain, three ruffians enter with a girl. 
Finding no money in her flat, they order her to go to the window and attract a cus- 
tomer. Three times she lures men into the room; the first two 
have no money, and the ruffians unceremoniously throw 
them out. But finally a mysterious and exotic "mandarin" 
enters, a man whose face reveals no sign of emotion except for 
his burning eyes, which stare ceaselessly at the girl. She begins 
dancing for him, gradually dancing more and more sensuous- 
ly. She falls into his lap, and he embraces her, trembling with 
. passion. Now frightened, she tries to elude him, and he pur- 
A^ %^^ sues ^ er - J ust as t ^ ie man darin reaches the girl, the ruffians 

^L ^J P w attack him and take his jewels and money. Then they decide 

Ik ^_B Hfck to kill him. Three times they attack him in different ways. 
They smother him, but he will not die; he continues staring at the girl. They stab him; 
he does not fall or bleed. They hang him from the chandelier; it comes crashing down, 
and his body begins to glow with a greenish light. Finally the girl feels some pity for 
this strange man. She embraces him, and her act of compassion releases him from the 
longing that has driven him. His wounds begin to bleed, and he finally dies. 

Even in the form of the concert suite, without the assistance of the staging to clarify 
the score, Bartok's music so clearly reflects the scenario that it is not difficult to follow 
the intended course of events, while at the same time admiring the gorgeous richness 
of the scoring. Except for a few very small cuts, the concert suite actually includes the 
entire score up to the point when the ruffians leap out and seize the Mandarin — which 
is to say, about two-thirds of the piece. The composer no doubt chose this point to end 
the suite because it provided a symmetrical pattern in which the wildest orchestral music 
of the score frames the three attempts at luring victims. The last few measures of the 
suite are a concert ending Bartok provided for that purpose. 

The prologue is intended to suggest the noisy bustle of a busy street, heard through 
the window of the dingy room. The bustle dies down, and the three ruffians are intro- 
duced by a jerky chromatic figure in the violas. The music associated with the girl's 
standing at the window and luring the passing men to enter is, each time, presented by 
the solo clarinet. The first man — an elderly rake — is parodied in trombone glissandi. 
The second is a shy, handsome youth, represented by the oboe. The arrival of the Man- 
darin is marked by the simplest musical moment in the score, the blaring brass instru- 
ments snarling out a single minor third, B-D. After the briefest of pauses, the girl 
begins a hesitant dance before this strangely unresponsive newcomer. From here the 
music builds in tension to almost unbearable levels. The girl's initially halting waltz 
becomes more and more abandoned, and when she throws herself into the Mandarin's 
lap, he moves for the first time since his entrance (this is marked by an exotic theme on 
the trombone). A pounding ostinato turns into a tense fugue on a subject of oriental 
tinge. Once this has built to its grand climax, the opening woodwind chords return, 
bringing the suite to its shattering conclusion. 



32 




Gustav Hoist (1874-1934) 

The Planets, Suite for large orchestra, Opus 32 

In his early years Hoist went under the full name Gustav von Hoist, but he was entirely 
English in his upbringing, as were his father and grandfather. His closest friend was 
Ralph Vaughan Williams, and his fondness for English folksong is clear from such pieces 
as his Somerset Rhapsody and Moorside Suite. But he was also fascinated by remote cul- 
tures and occult beliefs. He studied Sanskrit and Hindu literature, and his choice of 

texts for operas and songs was astonishingly wide. His range 
of musical activities was wide too, being composer, arranger, 
conductor, and full-time schoolteacher all his life. He man- 
aged to find time to write much music in different forms, 
skirting the traditional categories of symphony, sonata, and 
string quartet, and instead making unconventional groups of 
pieces on unconventional subjects. 

The conception of a suite of seven tone poems on the astro- 
logical implications of the planets came to Hoist partly from 
reading Alan Leo's What is a Horoscope and How is it Cast. 
Mars was the first movement to be composed, in 1914. Venus 
and Jupiter were also written in 1914, with Saturn, Uranus and Neptune in 1915 and 
Mercury in 1916. The performance sequence leads from the grim physicality of mortal 
combat via the intervening planets to Neptune's disembodied mystical universe. (There 
is no movement for Pluto, which was not then known to exist, and is now in any case 
demoted from planetary status.) Opportunities for performing such a large work were 
limited in the war years, but Hoist was able to hear a private run-through in September 
1918. The full work was publicly performed for the first time in November 1920. 

I. Mars, the Bringer of War. Mars was the Greek god of war, but Hoist was not try- 
ing just to reflect the mythological characters of the Greek gods after whom the planets 
are named but also their astrology, to which Alan Leo's book guided him. The battle 
imagery of Mars is unmistakable, made grotesque by insistent drumbeats and the 5/4 
meter, and building again and again to brutal climaxes on huge dissonant chords. The 
organ adds its powerful voice to the uproar. II. Venus, the Bringer of Peace. Mythology 
associates Venus more with love than with peace, while astrology endows those born 
under this planet with a refined nature and deep devotion to those they love. Venus 
explores serenity, beauty, and delicate quietude, aided by the sounds of glockenspiel, 
celesta, and harps. III. Mercury, the Winged Messenger, moves swiftly and nimbly, and 
a "mercurial" character emerges from the interplay of instruments and the brilliance of 
the woodwinds. A symphonic scherzo in form, it contains a Trio in which a melody is 
heard on a solo violin and a dozen times more in different orchestral dress. 

III. Jupiter, the Bringer of Jollity also brings enthusiasm, manly energy, lopsided 
acrobatics, peasant merrymaking, nobility, and grandeur — a broad tune in the middle 
evoking Elgar's world. Leo attributed to Jupiter's sons "an abundance of life and vitali- 
ty. . . cheery and hopeful. . . noble and generous." IV. Saturn, the Bringer of Old Age, is 
the longest movement in the suite. The orchestration is highly imaginative, with three 
flutes and harp harmonics treading painfully forward while the double basses stir in the 
depths. The bass oboe adds its unusual voice. Old age is represented as slow and steady, 
but not necessarily in a negative sense. V. Uranus, the Magician. Hoist's attribution of 
magic powers to Uranus seems to have been his own fanciful gloss on the strange char- 
acter associated with that planet. Thumping timpani, galumphing bassoons, swirling 
piccolos, and a humorous march add up to a remarkably inventive piece of music. VI. 
Neptune, the Mystic. Here Hoist comes to the psychological heart of his planetary 



33 



journey. The 5/4 meter may be an echo of Mars, but the stillness of the music and the 
delicacy of its orchestration paint a quite different world. The supreme invention was to 
call for an invisible choir of female voices, which fade to nothing like a dot of light dis- 
appearing into the infinite darkness of space. 

— From notes by Steven Ledbetter (Ravel, Bartok) 
and Hugh Macdonald (Hoist) 

Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1976 to 
1979. He now writes program notes for orchestras and other ensembles from Boston to 
California, and for such concert venues as Carnegie Hall. 

Hugh Macdonald is Avis Blewett Professor of Music at Washington University in St. Louis, 
principal pre-concert lecturer for the Saint Louis Symphony Orchestra, and a frequent guest 
annotator and speaker for the Boston Symphony Orchestra. 




ARTISTS 

For a biography of Stefan Asbury, see page 6. 

Kazem Abdullah 

Kazem Abdullah was born in Indianapolis in 1979. In addition to con- 
ducting he is also a clarinetist and has appeared as a soloist with the 
Cincinnati Symphony, National Symphony, and New World Symphony. 
He holds degrees from the Cincinnati Conservatory of Music and the 
University of Southern California. During his two seasons as a clarinetist 
in the New World Symphony, Mr. Abdullah also worked as a conductor 
with Florida Grand Opera and did a performance with their young artist 
studio. He has also served as an assistant conductor at Baltimore Opera 
and Chautauqua Opera. During the 2006-07 season he was assistant conductor for the 
Metropolitan Opera's production of Idomeneo and worked with the young artist studio of Los 
Angeles Opera. He returns to the Met in 2007-08, to assist on Die Zauberflote and Iphigenie 
en Tauride. Mr. Abdullah spent the summer of 2001 as a Conducting Fellow at the American 
Academy for Conducting at Aspen. The summer of 2007 is his second as a Conducting 
Fellow at the Tanglewood Music Center. He has also participated in the National Arts 
Centre of Ottawa Conductor's Program. In addition to conducting the orchestras at these 
institutions, Kazem Abdullah has also conducted the Chautauqua Festival Orchestra, the 
Berliner Kammerphilharmonie, the Finnish Radio Orchestra, and the New World Symphony. 
His conducting teachers and coaches include Gustav Meier, Markand Thakar, Jorma Panula, 
David Zinman, Stefan Asbury, Bernard Haitink, and James Levine. 

Erik Nielsen 

TMC Conducting Fellow Erik Nielsen studied oboe and harp at the 
I Julliard School and conducting at the Curtis Institute of Music. In 2001 
he moved to Berlin as harpist in the Orchester-Akademie of the Berlin 
Philharmonic, where he functions as second harpist and substitutes as 
principal harp. In the fall of 2002 he began working at Oper Frankfurt, as 
repetiteur (coach) and later as assistant to the music director. He has con- 
ducted Britten's Curlew River and Mozart's La clemenza di Tito and Le 
nozze di Figaro. In 2005-06 he assisted Christoph Eschenbach in the pro- 
duction of Wagner's Ring cycle at the Theatre du Chatelet in Paris. Next season he conducts 
Die Entfuhrung aus dem Serai/ and Tosca at Oper Frankfurt and makes his debut with the 
Stuttgart Radio Orchestra. 



w m 




34 



FELLOWS OF THE 2007 TANGLEWOOD MUSIC CENTER 



Violin 

Francesca Anderegg, West Stockbridge, MA 

Surdna Foundation Fellowship 
Jessica Blackwell, St. Louis, MO 

Max Winder Memorial Fellowship 
Katherine Bormann, Bismarck, ND 

Friends of Armenian Culture Society Fellowship 
Brittany Boulding, Seattle, WA 

Rapaporte Foundation Fellowship 
Ruby Chen, Taipei, Taiwan 

Messinger Family Fellowship 
Hannah Choi, Lubbock, TX 

Paul and Lori Deninger Fellowship/ 

TMC Fellowship 
Sonya Chung, Richmond, VA 

Edward G. Shufro Fund Fellowship 
Rommel Fernandes, Sao Paulo, Brazil 

Omar Del Carlo Fellowship 
Kate Friedman, Oswego, IL 

Valerie and Allen Hyman Family Fellowship 
Fangyue He, Shanghai, China 

Harold G. Colt, Jr. Memorial Fellowship 
Brittany Henry, Roseville, MN 

Mr. and Mrs. Jay Marks Fellowship 
Jessica Hung, Chicago, IL 

Juliet Esselborn Geier Memorial Fellowship 
Julia D. Hunter, Salt Lake City, UT 

Wilhelmina C Sandwen Memorial Fellowship 
Reina Inui, Osaka, Japan 

Lia and William Poorvu Fellowship 
Rena Ishii, Kobe, Japan 

Akiko Shiraki Dynner Memorial Fellowship 
Byung-Jin Kang, Seoul, Korea 

Starr Foundation Fellowship 
Hyewon Kim, Seoul, Korea 

Northern California Fellowship 
Yevgeny Kutik, Pittsneld, MA 

Merwin Geffen, M.D. and Norman Solomon, 

M.D. Fellowship 
Jeanine Markley, St. Louis, MO 

Steve and Nan Kay Fellowship 
Stephanie Nussbaum, Houston, TX 

Adele and John Gray Memorial Fellowship/ 

Evelyn and Phil Spitalny Fellowship 
David Repking, St. Louis, MO 

Harry and Mildred Remis Fellowship 
Alex Russell, Porterville, CA 

William and Mary Greve Foundation-John J. 

Tommaney Fellowship 
David Southorn, Tigard, OR 

Philip and Bernice Krupp Fellowship/ 

Marion Callanan Memorial Fellowship 



Kaoru Suzuki, Westborough, MA 

Edward S. Brackett, Jr. Fellowship 
Jessica Tong, Toronto, ON, Canada 

Robert Baum and Elana Carroll Fellowship 
Lorna Tsai, Andover, MA 

Agatina Carbonaro Fellowship/TMC Fellowship 
Heather Wittels, Brookline, MA 

Gerald Gelbloom Memorial Fellowship/ 

TMC Fellowship 
Ainur Zabenova, Almaty, Kazakhstan 

Ann and Gordon Getty Foundation Fellowship 

Viola 

Sharon Bielik, Plainview, NY 

James A. Macdonald Foundation Fellowship 
Jessica T Chang, Saratoga, CA 

Luke B. Hancock Foundation Fellowship 
Amelia Clingman, Amherst, MA 

Bay Bank/BankBoston Fellowship 
Alyssa Hardie, Waco, TX 

Brookline Youth Concerts Awards Committee 

Fellowship /Harry and Marion Dubbs Fellowship 
Andrea Hemmenway, Swarthmore, PA 

Darling Family Fellowship 
Joshua Kelly, Pittsburgh, PA 

Lucy Lowell Fellowship/TMC Fellowship 
Liyuan Liu, Chang Chun, Ji Lin, China 

Susan B. Kaplan Fellowship 
Nicholas Mauro, York, PA 

Kingsbury Road Charitable Foundation 

Fellowship 
Jonina Allan Mazzeo, Salem, OR 

Ruth S. Morse Fellowship 
Alexander Petersen, Westford, MA 

Bill and Barbara Leith Fellowship 
Angela Pickett, St. John's, NL, Canada 

John F. Cogan,Jr. and Mary L. Cornille 

Fellowship/TMC Fellowship 
Yumi Sagiuchi, Great Neck, NY 

BSAV/Carrie L. Peace Fellowship 
Leah Swann, Houston, TX 

Evelyn S. Nef Fellowship 
Gareth Zehngut, State College, PA 

Pokross/Curhan/Wasserman Fellows h ip 

Cello 

Marie-Michel Beauparlant, Drummondville, 
PQi Canada 

Ruth and Jerome Sherman Memorial 
Fellowship/TMC Fellowship 
Pei-Chieh Chang, Kaohsiung, Taiwan 
Stanley Chappie Fellowship 



35 



Patricia Garvey, Wheaton, IL 

Mornings tar Family Fellowship/Doucet and 

Stephen Fischer Fellowship 
David Gerstein, Wilmette, IL 

Helene R. and Norman L. Cahners Fellowship/ 

Andrea and Kenan Sahin Fellowship 
Christopher Hopkins, Fairbanks, AK 

Herb and Barbara Franklin Fellowship/ 

TMC Fellowship 
Kathryn Hufnagle, Herndon, VA 

Lost & Foundation Fellowship 
Morgen Johnson, Lake Ann, MI 

James and Caroline Taylor Fellowship 
Min-Jeong Kang, Little Ferry, NJ 

Mr. and Mrs. Allen Z. Kluchman Memorial 

Fellowship 
Gregory Kramer, Port Jefferson, NY 

Wallace-Reader's Digest Fund Fellowship 
Alexandre Lecarme, Grasse, 

Alpes-Maritimes, France 

Florence Gould Foundation Fellowship 
Hugh LeSure, Memphis, TN 

Country Curtains Fellowship 
Elizabeth Means, Huntington Beach, CA 

Dr. Marshall N. Fulton Memorial 

Fellowship/Anonymous Fellowship 
Brian Sanders, Madison, WI 

Stephen and Dorothy Weber Fellowship 
Jay Tilton, Capistrano Beach, CA 

Morris A. Schapiro Fellowship 

Double Bass 

Karl Fenner, Houston, TX 

Frederic and Juliette Brandi Fellowship 
Jessica Grabbe, Ann Arbor, MI 

George and Ginger Elvin Fellowship 
Evan Halloin, De Pere, WI 

Jerome Zipkin Fellowship 
Kevin Jablonski, Columbus, OH 

Carolyn and George R. Rowland Fellowship 
Brandon Kelly McLean, Seattle, WA 

Rosamund Sturgis Brooks Memorial Fellowship 
Edward Merritt, Pittsburgh, PA 

Jan Brett and Joe Hearne Fellowship 
Tristan Sutton, Cincinnati, OH 

Catherine and Michael Sporn Fellowship 

Flute 

Jessica Anastasio, San Antonio, TX 

Eduardo and Lina Plantilla Fellowship 
Brook Ferguson, Pittsburgh, PA 

Theodore and Cora Ginsberg Fellowship 
Sandy Hughes, Portland, OR 

Claire and Millard Pry or Fellowship 
Marie Tachouet, Portland, OR 

Leslie and Stephen Jerome Fellowship 



Oboe 

Andrea Overturf, Seattle, WA 

Catherine and Michael Sporn Fellowship 
Timothy Sawyier, Chicago, IL 

Ushers/Programmers Instrumental Fellowship 

in honor of Bob Rosenblatt 
Nicholas Stovall, Austin, TX 

Fernand Gillet Memorial Fellowship 
Camille White, Amherst, MA 

Augustus Thorndike Fellowship/ 

Steinberg Fellowship 

Clarinet 

Won Jin Cho, Seoul, Korea 

Daphne Brooks Prout Fellowship 
Alexis Lanz, Columbia, MD 

Caroline Grosvenor Congdon Memorial 

Fellowship 
Andrew Lowy, Hastings-on-Hudson, NY 

Edwin and Elaine London Family Fellowship 
Michael Rezzo, Scottsdale, AZ 

Sydelle and Lee Blatt Fellowship/ 

TMC Fellowship 

Bass Clarinet 

Brent Besner, Montreal, QC, Canada 
Evelyn S. Nef Fellowship 

Bassoon 

Matthew Lano, Ellicott City, MD 

Robert G McClellan, Jr. & IBM Matching 

Grants Fellowship 
Miles Maner, Austin, TX 

John and Elizabeth Loder Fellowship 
Matthew McDonald, Huntsville, AL 

Denis and Diana Osgood Tottenham Fellowship/ 

Dorothy and Montgomery Crane Scholarship 
Shelley Monroe, Concord, NC 

Sherman Walt Memorial Fellowship/ 

TMC Fellowship 

Horn 

Yousef Ismael Assi, Woodcliff Lake, NJ 

Jacques Kohn Fellowship/ Miriam Ann Kenner 

Memorial Scholarship 
Nicole de la Cal, Coral Springs, FL 

BSO Members' Association Fellowship 
Elizabeth Schellhase, Plymouth, MI 

Anna Sternberg and Clara J. Marum Fellowship 
Catherine Turner, West Chester, OH 

Frelinghuysen Foundation Fellowship 
Lee Wadenpfuhl, Houston, TX 

William F and Juliana W. Thompson Fellowship 
Michael Winter, Valencia, CA 

Donald Law Fellowship 



36 



Trumpet 

Ethan Bensdorf, Evanston, IL 

Armando A. Ghitalla Fellowship 
Karin Bliznik, Brockton, MA 

Andre Come Memorial Fellowship 
John C. Russell, Longview, TX 

Dr. John Knowles Fellowship 
Christopher Scanlon, Middletown, CT 

Arthur and Barbara Kravitz Fellowship/ 

Robert E. Brown Memorial Fellowship 
Greg Smith, Tyngsboro, MA 

Theodore Edson Parker Foundation Fellowship 

Trombone 

Roger Flatt, Buckner, IL 

Miriam H. and S. Sidney Stoneman Fellowship 
Kama Millen, Edina, MN 

Alfred E. Chase Fellowship 
Kenneth Moses, Houston, TX 

Haskell and Ina Gordon Fellowship 

Bass Trombone 

David Becker, Kansas City, MO 

William Randolph Hearst Foundation Fellowship 

Tuba 

Thomas Haggerty, Succasunna, NJ 
Margaret Lee Crofts Fellowship 

Percussion 

Matthew Bohli, Westminster, MD 

Judy Gardiner Fellowship 
Jason Ginter, Elyria, OH 

Clowes Fund Fellowship 
Joseph Petrasek, Camarillo, CA 

Catherine and Paul Buttenwieser 

Fellowship/Erskine Park LLC Fellowship 
Nicholas Tolle, St. Louis, MO 

Dr. Raymond and Hannah H Schneider 

Fellowship 
Andrew Watkins, Monticello, IL 

Tappan Dixey Brooks Memorial Fellowship 
Kyle Zerna, Downers Grove, IL 

Barbara Lee/Raymond E. Lee Foundation 

Fellowship 

Harp 

Megan Levin, Austin, TX 

Dana and Jesse Lehman Fellowship/Kathleen 

Hall Banks Fellowship 
Earecka Tregenza, Sykesville, MD 

John and Susanne Grandin Fellowship 

Piano (Instrumental) 

Rujie Sandra Gu, Shanghai, China 
Felicia Montealegre Bernstein Fellowship/ 
Nat Cole Memorial Fellowship 



Yana Reznik, Los Angeles, CA 
Mr. and Mrs. Joseph L. Cohen Fellowship 

Jacob Rhodebeck, Westerville, OH 
Billy Joel Keyboard Fellowship 

Yegor Shevtsov, Lviv, Ukraine 
Paul Jacobs Memorial Fellowship 

Piano (Vocal) 

Angelina Gadeliya, New York, NY 

K. Fred Netter Memorial Fellowship/ 

R. Amory Thorndike Fellowship 
Alan Hamilton, Houston, TX 

Marie Gillet Fellowship 
Ernst Munneke, Utrecht, Netherlands 

Mrs. Vincent Lesunaitis Fellowship/ 

Velmans Foundation Fellowship 
Tatiana Vassilieva, Seattle, WA 

Peggy Rockefeller Memorial Fellowship 
Bonnie Wagner, Los Altos, CA 

Leonard Bernstein Fellowship 
Yauheniya Yesmanovich, Toronto, 

ON, Canada 

Stephanie Morris Marry ott &f Franklin J. 

Marryott Fellowship 

Soprano 

Emily Albrink, Louisville, KY 
Dan and Gloria Schusterman Fellowship/ 
David B. Cooper Memorial Fellowship 

Layla Claire, Penticton, BC, Canada 
Dr. Raymond and Hannah H. Schneider 
Fellowship/The Hannah and Walter Shmerler 
Fellowship 

Eve-Lyn de la Haye, Victoria, BC, Canada 
Athena and James Garivaltis Fellowship 

Kiera Duffy, Downingtown, PA 
Dr. Raymond and Hannah H. Schneider 
Fellowship 

Ileana Montalbetti, Saskatoon, SK, Canada 
Bernice and Lizbeth Krupp Fellowship/ 
Norma and Sol D. Kugler Fellowship 

Lauren Skuce, Syracuse, NY 
Daniel and Shir lee Cohen Freed Fellowship/ 
Mr. and Mrs. Robert E. Remis Fellowship 

Yulia Van Doren, Carlisle, PA 
Edward G. Shufro Fund Fellowship/Kandell 
Family Fellowship 

Katherine Whyte, Toronto, ON, Canada 
Red Lion Inn/Blantyre Fellowship 

Mezzo-Soprano 

Sarah Austin, San Antonio, TX 
Edward H. and Joyce Linde Fellowship 

Jamie Barton, Rome, GA 
Eugene Cook Scholarship/Mr. and Mrs. Daniel 
Pierce Fellowship 



37 



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Christin-Marie Hill, Evanston, IL 

Aso O. Tavitian Fellowship/The Everett and 

Margery J assy Fellowship 
Kathryn Leemhuis, Columbus, OH 

Naomi and Philip Kruvant Family Fellowship 
Rebecca Jo Loeb, Glen Ridge, NY 

Edward I. and Carole J. Rudman Fellowship 

Tenor 

Matthew Anderson, Lawrence, KS 
Robert and Luise Kleinberg Fellowship 

Ramone Diggs, Amarillo, TX 
William E. Crofut Family Scholarship/ 
TMC Fellowship 

Chad A. Johnson, Muskegon, MI 
Pearl andAlvin Schottenfeld Fellowship/ 
Penny and Claudio Pincus Fellowship 

Siddhartha Misra, Cambridge, MA 
Leah Jansizian Memorial Scholarship/ 
Richard F Gold Memorial Scholarship 

Stephen Ng, Hong Kong, China 
Andr all and Joanne Pearson Scholarship/ 
Mr. and Mrs. David B. Arnold, Jr. Fellowship 

Baritone 

Mischa Bouvier, Shirley, NY 

Charles E. Culpeper Foundation Fellowship 
Christopher Johnstone, Cedar Rapids, I A 

Rita Meyer Fellowship 
Paul Scholten, Muskegon, MI 

Mary E. Brosnan Fellowship 
Giles Tomkins, Toronto, ON, Canada 

Peter H.B. Frelinghuysen Fellowship/ 

Mary H. Smith Scholarship 
Michael Weyandt, Plymouth, MN 

Ushers/Programmers Harry Stedman Vocal 

Fellowship 
Matthew Worth, West Hartford, CT 

Linda J L. Becker Fellowship 

Bass-Baritone 

Ulysses Thomas, Lithonia, GA 
Cynthia L. Spark Scholarship/Tisch Foundation 
Scholarship 

Composition 

Kati Agocs, New York, NY 
ASCAP Foundation Leonard Bernstein 
Composer Fellowship 



Alexandra Fol, Sofia, Bulgaria 

Leonard Bernstein Fellowship 
Andrew McPherson, Philadelphia, PA 

Patricia Plum Wylde Fellowship 
Asaf Peres, Hod Hasharon, Israel 

Lola and Edwin Jaffe Fellowship 
Fabrizio Rat Ferrero, Torino, Italy 

Michael and Sally Gordon Fellowship 
Kay Rhie, Los Angeles, CA 

Otto Eckstein Family Fellowship 

Conducting 

Kazem Abdullah, Indianapolis, IN 

Seiji Ozawa Fellowship 
Sean Newhouse, Los Angeles, CA 

Merrill Lynch Fellowship 
Erik Nielsen, Council Bluffs, IA 

Dr. Raymond and Hannah H. Schneider 

Fellowship/Maurice Abravanel Scholarship 

Library 

Jennifer Feldman, Smyrna, GA 
Ethel Barber Eno Scholarship/ 
Marilyn Brachman Hoffman Fellowship 

Audio Engineering 

Pamela Harght, Marshfield, MA 

Leo L. Beranek Fellowship /TMC Fellowship 
Adam Johnson, Asheville, NC 

C. D. Jackson Fellowship 
Jeanne Montalvo, Alpharetta, GA 

Stephen and Persis Morris Fellowship/ 

TMC Fellowship 
Jose Leonardo Pupo, Barranquilla, Colombia 

Saville Ryan/Omar Del Carlo Fellowship 

Piano Technician 

Crystal Fielding, Townshend, VT 
Miriam H. and S. Sidney Stoneman Fellowship 

Ben Gac, Oak Park, IL 
Jane W. Bancroft Fellowship 

Brandon Lewis, Frederick, MD 
Albert L. and Elizabeth P. Nickerson Fellowship 

The New Fromm Players 

Yuki Numata, violin, Vancouver, BC, Canada 
Martin Shultz, violin, Katy, TX 
Nadia Sirota, viola, Boston, MA 
Lachezar Kostov, cello, Plovdiv, Bulgaria 



I 







39 




Tanglewood 



\m h 



SEIJI OZAWA HALL 



Thursday, July 12, at 8:30 

Florence Gould Auditorium, Seiji Ozawa Hall 

HESPERION XXI 
JORDI SAVALL, director 

Montserrat Figueras, vocalist 

Pierre Hamon, flutes 
Jordi S avail, lira, vielle 8c rebab 
Driss El Maloumi, oud 
Begofia Olavide, psalterium 
Dimitri Psonis, santur & morisca 
David Mayoral, percussion 

THE SEPHARDIC DIASPORA 
Ballads and Instrumental Music 

From Medieval Spain to the Eastern Mediterranean 

The cultural richness and complexity of the Judeo- Spanish oral tradition 

in the World & the Eternity 



Alba (instrumental) 
Pregoneros van y vienen 
Nastaran (instrumental) 
Levantose el Conde Nino 

Danse de Fame (oud) 

Nani, nani 

Paxarico tu te llamas (instrumental) 

Por alii paso un cavallero 



Morocco 
Sarajevo 
Sofia 
Salonica 

Morocco 
Morocco 
Sarajevo 
Turkey 



INTERMISSION 



State Street Global Advisors is proud to sponsor the 2007 Tanglewood season. 



Steinway and Sons Pianos, selected exclusively for Tanglewood 

Special thanks to Delta Air Lines and Commonwealth Worldwide Chauffeured Transportation 

In consideration of the performers and those around you, cellular phones, pagers, 
and watch alarms should be switched off during the concert 

Please do not take pictures during the concert. Flashes, in particular, are distracting to 

the performers and other audience members. 
Note that the use of audio or video recording equipment during performances in the 

Music Shed or Ozawa Hall is prohibited. 



40 




Tanglewood 




Thursday, July 12, at 8:30 

Florence Gould Auditorium, Seiji Ozawa Hall 

HESPERION XXI 
JORDI SAVALL, director 

THE SEPHARDIC DIASPORA 
Ballads and Instrumental Music 

TEXTS AND TRANSLATIONS 



SEIJI OZAWA HALL 



Pregoneros van y vienen 

Anonimo sefardi (Sarajevo) 

Pregoneros van y vienen 
Por la ciudad d'Aragon 
— Todo varon que hijo tiene 
A la guerra deve ir. 

Alii havia un viejizico 
Un viejizico doblado en dos 
Bendiziendo el pan y el vino 
Y al Dio que se los dio. 

Maldiziendo a su espoza 
Maldicion de coracon 
Que siete hijas le pario 
Sin ningun hijo varon. 

Salto la mas chica y dixo 
La que en buen mazal nacio 
Non maldigas tu mi padre 
Non maldigas tu mi sefior. 

Dame armas en mi mano 
A la guerra me vo yo 
— No havles la mi hija 
No havles tal dezhonor. 

Los tus pechos la mi hija 
Non demostran de varon 
— Los mis pechos el mi padre 
Con los vestidos los tapo yo. 
— Los tus cavellos la mi hija 
Non demostran de varon 
— Los cavellos el mi padre 
Con el chapeo los tapo yo. 



Town-criers come and go 

Anonymous — Sephardic (Salonica) 

Through all the city of Aragon 
Town-criers come and go: 
"Every man who has a son 
must send him to fight the foe." 

There lived an old man in those parts, 
Bent double was his frame. 
He blessed his daily bread and wine 
And the God from whom they came. 

But that old man did curse his wife, 
He cursed for all he was worth. 
For seven daughters she had borne, 
No son had she brought forth. 

Then said the youngest of them all, 
Oh happy the day she was born, 
"My father, cease your cursing, 
My lord, prey curse no more. 

But put the weapons in my hand 

And I shall go to war." 

"For shame, my daughter, hold your tongue, 

My daughter, speak no more. 

Your breast, my dearest daughter, 
Is plainly not a youth's" 
"My breast, oh dearest father, 
I'll cover with manly clothes." 
"Your tresses, dearest daughter, 
Are plainly not a lad's." 
"My tresses, dearest father, 
I'll cover with my hat." 

Please turn the page quietly. 



Guerreando y peleando 
Media guerra ya gano 
Guerreando y peleando 
El chapeo le cayo. 

Que que vos conte la mi madre 
Lo que hoy me acapito? 
— Un mancevo a la guerra 
Hija es y no varon. 



Thus waging war and fighting, 
When the war had half been won. 
Thus waging war and fighting, 
Her hat fell to the ground. 

Oh mother, shall I tell you, 
What happened to me today? 
"The lad who went away to war 
Is not a youth, but a maid." 



Levantose'l conde Nino 

Anonimo sefardi (Salonica) 

Levantose'l conde Nino 
Mananita de San Juan 
A dar a beber a sus caballos 
A la orilla de la mar. 

Mientras los caballos beben, 
El conde dice un cantar; 
Que la vida de este mundo, 
Nadie se puede fiar. 

Oyendo lo esta la reina, 
Desde su alto sitial. 
Si duermes la nifia infanta, 
Si duermes o recordas?. . . 

Si sentis como lo canta, 
La sirena de la mar?. . . 
No es la sirena, mi madre, 
Es el conde Nino, que a mi 
viene demandar. 

El conde Nino ha muerto, 
Que la reina lo mando matar. 
— Muere el uno, muere el otro, 
Juntos los llevan a enterrar. 

De el saliera una paloma, 
De ella un bianco palomar. 
Vola el uno, vola el otro, 
En el cielo se van a juntar. 



The childe count rose 

Anonymous — Sephardic (Salonica) 

Early one morn the childe count rose 
One morning of St John, 
And led his horses to water 
Down beside the shore. 

While the horses drank, 
The count intoned a song; 
Upon this worldly life, it said, 
That no man can rely. 

On hearing this the queen 
Did say as she sat on her lofty throne 
"Are you asleep my princess, my child, 
Are you asleep or awake?" 

"Can you hear the song that is sung 

By the mermaid out at sea?" 

"It is not the mermaid, mother, 

But the childe count who is come for me." 



The childe count is dead, 
On the queen's orders slain. 
Dead is the one, and the other is dead, 
Together they are taken to be lain in 
their graves. 

From him a dove has burgeoned, 
From her a dove so white, 
Away flies one, and the other one flies; 
Joined in heaven they both shall be. 



• • -' 



MB 



Nani, nani 

Anonimo sefardi (Marruecos) 

Nani, nani, 

nani quere el hijo 

el hijo de la madre, 

de chico se haga grande. 

Ay, durmite mi alma, 
durmite mi vista, 
ay, que tu padre viene, 
con muncha alegria. 

— Ay, avrimex mi dama, 
avrimex la puerta, 
que vengo cansado 
de arar las huertas. 

— Avrir no vos avro, 
no venix cansado, 
sino que venix 
de onde muevo amor. 

Ni es mas hermoza, 
ni es mas valida, 
ni ella llevava 
mas de las mis joyas. 



Lullaby, lullaby 

Anonymous Sephardic (Morocco) 

Lullaby, lullaby, 
Hush, little child. 
Mama's little boy 
Will grow up tall. 

Go to sleep my sweetheart, 
Sleep, apple of my eye. 
Your daddy is coming, 
And his spirits are high. 

Open up, good wife, 
Open the door, 
For I come home weary 
From ploughing the fields. 

I will not open up, 
For you are not weary. 
I know that you come 
From another new love. 

She is no more lovely 
Nor worthier than I, 
And the jewels that she wore 
Are no better than mine. 



Por alii paso un cavallero 

Anonimo sefardi - Turquia 

Por alii paso un cavallero 
asentado y muy gentil 
— Si vos plaze cavallero 
de mi tomarex plazer. 

— No lo quere el Dios del cielo, 
ni me dexa tal hazer, 
que tengo mujer hermoza 
hijos para el bien hazer. 

— Alii vayax cavallero 
todo topex al revez 
tu mujer topes con otro 
los hijos al mal hazer. 



There passed that way a knight 

Anonymous Sephardic (Turkey) 

There passed that way a knight, 
Full noble and handsome was he. 
"If such be your pleasure, sir, 
You may take your pleasure with me." 

"God who is in heaven forbid 
and from such deeds preserve me. 
A comely wife and children have I 
And for their sake must leave thee." 

"Then get thon thy way, fine sir, 
May all go ill with thee. 
Mayst thou find thy wife with another, 
And thy children turned scoundrels see." 



El rey de Francia 

Anonimo sefardi (Esmirna) 

El rey de Francia 
Tres hijas tenia 
La una lavrava 
La otra cuzia 
La mas chica de ellas 
Bastidor hazia 
Lavrando lavrando 
Sueno le caia 

Su madre que la via 

Aharvar la queria 

No m'aharvex mi madre 

Ni m'aharvariax 

Un sueno me sonava 

Bien yo alegria 

— Sueno vos sonavax 

Yo vo lo soltaria 

— M'apari a la puerta 
Vide la luna entera 
M'apari a la ventana 
Vide a la estrella Diana 
M'apari al pozo 
Vide un pilar de oro 
Con tres paxaricos 
Picando el oro 

— La luna entera 
Es la tu suegra 
La estrella Diana 
Es la tu cunada 
Los tres paxaricos 
Son tus cunadicos 
Y el pilar de oro 
El hijo del rey tu novio 



The king of France 

Anonymous Sephardic (Smyrna) 

The king of France 
Had daughters three. 
The first embroidered, 
The second sewed, 
The youngest of them 
Worked a tapestry. 
And stitch by stitch 
She fell to slumbering. 

Her mother, when she saw her thus, 
Did make as if to wake her. 
Do not beat me, mother, 
No, do not wish to beat me. 
A dream I was a-dreaming, 
that filled me full of gladness. 
"A dream you were a-dreaming 
that I would fain unravel." 

"I looked out from the door 
And the full moon there I saw; 
I looked out from the window 
And saw the star Diana; 
I looked into the well 
And saw a golden pillar 
With three litde birds 
That were pecking at the gold." 

"The full moon 

Is your mother-in-law, 

Diana's star 

Your sister-in-law 

The three little birds 

Are your little brothers-in-law, 

And the pillar of gold 

is the king's son, your betrothed." 



El moro de Antequera 

Anonimo sefardi - Rhodes 

De la juma sale el moro 
de la juma a medio dia, 
con trezientos caballeros 

se lleva por compafiia. 
No era por compafiia 
sino por favor que queria, 
que digan toda la gente: 



The moor of Antequera 

Anonymous Sephardic (Rhodes) 

The moor goes out from Friday prayers, 

from Friday prayers at noon, 

and with him three hundred horsemen 

takes 
to keep him company. 
It was not for their company 
but because it was his wish 
that all the people should exclaim 



— jO que gran caballeria!- 
La toca que el moro lleva 
labrada a la maravilla; 
,;Quen se la labro esta toca? 
Xerifa la su amiga. 
Xerifa esta en altas torres, 
las mas altas de Turquia, 
alii adientro y mas adientro 
hay un mancebo afinado. 
Quen lo llora por pariente, 
quen lo llora por hermano, 
la hija del rey lo llora 
por su primo enamorado. 



"Oh, what great chivalry!" 

The headdress that the moor is wearing 

was wonderfully embroidered. 

Who embroidered that headdress for him? 

Xerifa, his lady fair. 

Xerifa dwells in towers high, 

the highest towers in Turkey; 

deep within those towers, deep, 

a fine young man there bides. 

Who weeps for him as kinsman, 

who weeps for him as brother? 

The daughter of the king, she weeps 

for her cousin and her lover. 



Por que llorax blanca nina 

Anonimo sefardi (Sarajevo) 

Por que llorax blanca nifia, 
Por que llorax blanca flor? 
— Lloro por vos cavallero, 
Que vos vax y me dexax. 

Me dexax nina y muchacha, 
Chica y de poca edad. 

Tengo ninos chiquiticos, 
Lloran y demandan pan. 

Si demandan al su padre, 
Que repuesta les vo a dar? 

Venderex vinas y campos, 
De la parte de la mar. 

Vos asperarex a los siete. 
Si no, a los ocho vos cazax. 

Tomarex un mancevico, 
Que paresca tal y cual. 

Que se vista las mis ropas, 
Sin sudar y sin manchar. 

Esto que sintio su madre, 
Maldicion le fue a echar. 

"Todas las naves del mundo, 
Vayan y bolten con paz. 

Y la nave del mi hijo, 
Vaya y no abolte jamas." 



Why do you weep fair child? 

Anonymous Sepharidc (Sarajevo) 

Why do you weep fair child? 
Why do you weep fair flower? 
I weep for you, my knight, 
For you go and leave me alone. 

In me you leave a girl, a mere child, 
A young girl of tender years. 

Tiny little babes have I 
Who cry and ask for bread. 

If they ask for their father, 
How shall I answer them? 

You shall sell both fields and vineyards, 
Those that lie close by the sea. 

Seven years you shall wait for me, 
But the eighth year you shall marry. 

A fine young man you then shall wed 
In all respects like me. 

Then let him all my garments wear, 
By sweat and stains unblemished. 

On hearing this, his mother 
Cursed him with these words. 

"Let all the ships that are in the world 
sail to and fro in peace, 

Save only my son's ship. 

Let it sail and never come back." 



Please turn the page quietly. 



Paso tiempo y vino tiempo, 
Descarino le fue a dar. 

Asentada en la ventana, 
La que da para la mar. 

Vido venir navezica, 
Navegando por la mar. 

Asi biva el Capitan, 
Que me diga la verdad. 

Si veriax al mi hijo, 
Al mi hijo caronal? 

Ya lo vide al su hijo, 
Al su hijo caronal. 

Echado en aquellos campos, 
La tierra tenia por cama, 

Y el cielo por cuvierta. 

Tres buracos el tenia, 
Por el uno le entra el aire, 
Por el otro le entra el sol. 

Y por el mas chico de ellos, 
Le entra sale el lunar. 

Esto que sintio su madre, 
A la mar se fue a echar. 

No vos echex la mi madre, 
Que yo so tu hijo caronal. 

Ya se bezan y se abrasan, 

Y se van a pasear. 



Time it came and time it went, 
To longing she fell prey. 

And as she sat at her window, 
That looked towards the sea 

She saw a little sailing ship 
Sailing upon the sea. 

God save you, my good Captain, 
I beg you, tell me true. 

Have you seen my son, perchance, 
My own dear heart, my son? 

Yes indeed I have seen him, 
Your own dear heart, your son. 

He was lying in distant fields 

Upon a bed of earth, 

With only the sky for mande. 

He had three holes in his body, 
Through one the wind did blow, 
Through the other the sun's light shone 

And through the smallest of the three 
The moon did come and go. 

On hearing this, his mother 
Went to cast herself into the sea. 

Mother, do not drown in the sea, 
It is I, your heart's own son. 

Then the two embraced and kissed 
And together they walked away. 



Una matica de ruda 

Anonimo sefardi (Sofia) 

Una matica de ruda, 
una matica de flor, 
hija mia mi querida 
dime a mi quen te la dio. 
Me la dio un mancevico 
que de mi se namoro. 

Hija mia mi querida, 
no te eches a la perdicion. 
Mas vale un mal marido 
que un mancebo de amor 
mancebo de amor, la mi madre 
la mancana y el buen limon. 



A sprig of rue 

Anonymous Sephardk (Rhodes) 

A sprig of flowers 

A sprig of rue, 

Oh daughter dearest, 

Who gave them to you? 

From a young man I had them 

Who loves me true. 

Oh daughter dearest, 
Let this not ruin you. 
Better a wretched husband 
Than a young lover true. 
A young lover, mother, 
Is apples and fresh lemon. 



A la una yo naci (flute 8c percussion) Sarajevo 

El Rey de Francia Smyrna 

Hermoza muchachica (instrumental) Jerusalem 

El moro de Antequera Rhodes 

La Reina Xerifa mora (instrumental) Sofia 

Por que llorax blanca nina Sarajevo 

Las estrellas de los cielos (instrumental) Alexandria 

Una matica de ruda Rhodes 



Support for this tour of Hesperion XXI is provided by INAEM. 




NOTES ON THE PROGRAM 

In 1492 the Jews were expelled by royal edict from the Crowns of Castile and Aragon. 
Following their expulsion, the Jews emigrated — often after great hardship — to north 
Africa, to the lands of the then vast and powerful Ottoman Empire, or to some European 
country such as southern France, Italy or nearby Portugal. Their refuge in Portugal was 
short-lived, however: only five years later, in 1497, the Jews of Portugal were also forced, 
again by royal decree, either to convert to Christianity or to abandon the kingdom. The 
fact that, at that time, there was no Inquisition in Portugal (it was not established there 
until half a century later) enabled some of those who had been forced to convert to 
continue secretly practicing their religion. Thus they formed groups of crypto-Jews who, 
throughout the sixteenth and seventeenth centuries, were to lay the foundations of the 
new Jewish communities in the Low Countries and Italy. Some of the converts reverted 
to Judaism and joined the communities of Sephardic Jews in north Africa or the eastern 
Mediterranean. 

This, in very broad terms, is how the Sephardic world came into being. It is well 
known that, right up until the twentieth century, a large number of those Jews who 
originated from the Iberian peninsula and settled in countries around the Mediterranean 
have retained Spanish as a language for both everyday communication and literature, 
and that, together with the language, they have preserved customs and practices, literary 
influences, and all kinds of cultural features of Hispanic origin. 

Nevertheless, the "Hispanic" and "medieval" aspects of Sephardic culture should not 
be exaggerated to the point of excluding all others: the language, literature, music, and 
other expressions of the culture of the Sephardic Jews gradually evolved, grew, and 
developed in exile. While never losing sight of their basic identity (their Jewishness) or 
their awareness of their origins (their Hispanic background), Sephardic culture gradually 
incorporated numerous influences from the peoples among whom it evolved — from the 
Arab culture of north Africa; from the Turks, Greeks, Bulgarians, Rumanians, Serbo- 
croats, Bosnians, and, in more modern times, from western countries (especially France, 
but also Italy and even Spain), which from the nineteenth century left their mark on 



41 



the socio-economic and educational life of the Sephardic Jews. Also influential, in the 
twentieth century, was their adaptation to countries that became the destination of new 
waves of migration, such as North and South America, Israel and, once again, France 
and Spain. 

The mixture of all these influences is reflected in tonight's program "The Sephardic 
Diaspora, " in which Hesperion XXI has recreated a representative sample of songs and 
ballads of the eastern Sephardic communities. On a musical level, this selection shows, 
together with what are presumably the surviving traces of medieval Hispanic music, the 
clear influence of sophisticated musical forms that developed in the Ottoman empire 
from the sixteenth century (and which were rapidly adopted by Sephardic Jews, even for 
use in their liturgical chants), as well as of the popular music of the Balkans. 

On a literary level, of course, we find ancient ballads that were current in Spain at the 
time of the expulsion: El Mow deAntequera ("The Moor of Antequera") is afronterizo 
ballad, one of many composed about events on the frontier between Christian Spain 
and the Moorish kingdom of Granada, which narrates the Christian siege of Antequera 
in 1410. Levantose el Conde Nino ("The child Count arose") is the famous old ballad 
Conde Olmos, which develops a number of motifs (such as the magical power of song) 
common to other ballads found in several pan-European folk traditions. Por allipaso un 
cavallero ("There passed that way a knight") is a fragment of La damay el pastor, the 
oldest recorded ballad in the Hispanic tradition, thanks to a manuscript version (contain- 
ing many Catalan features of expression) copied in Bologna, in 1421, by the Mallorcan 
student Jaume d'Olesa. Nani, Nani {La mujer enganada, or "The deceived wife") appears 
in a 16th-century music book compiled by Francisco de Salinas, the blind organist of 
Salamanca cathedral and friend of the great poet Fray Luis de Leon. Una matica de ruda 
("A garland of roses") is the Sephardic adaptation of the ballad La guirnalda de las rosas, 
which was published in various collections of 16th-century Spanish ballads. 

In addition to these ballads, however, the program includes items that are the result 
of the adaptation of Greek ballads (El sueno de la hija: El rey de Francia, "The daughter s 
dream: The king of France") and others in which the influence of Balkan narrative poems 
overlays and blends with an Hispanic ballad (Por que llorax blanca nina, "Why do you 
weep, fair child," is a fusion of the Hispanic version of a pan-European theme, La boda 
estorbada, "The wedding disrupted") and the Greek ballad "The wicked mother"). In 
another case, we find a modern ballad composed only recentiy, which must have found 
its way from Spain or Spanish America into the Sephardic tradition this century (El 
hermano infame: En la Santa Helena, "The infamous brother: In Santa Helena"). 

The very language of the songs and ballads is an expression of their syncretistic mixture 
of influences. Together with archaic forms of pure Spanish (mancevo, for "young man"; 
dovlones, for "doubloons"; buracos, for "agujeros," or "holes"; recordar for "despertar," or 
"to awaken"; aharvex, in turn an Arabic-derived word, for "golpee'is," or "beat"), we find 
words from Turkish (xemir), Greek (sirma, meaning "embroidered brocade") and Arabic 
(Juma, or "Friday prayer"). 

A similar phenomenon can be seen in the role that these songs and ballads played in 
the life of the Sephardic Jews. Many of the songs served merely as entertainment, sung 
to while away the time; but others performed more specific functions, and were sung or 
chanted to accompany different occasions in life or in the liturgy. Of those included in 
the present anthology, we know that La partida del esposo (Por que llorax blanca nina) was 
used as a song of mourning, while La mujer enganada (Nani, nani) was sung as a lullaby. 
Other songs and ballads were used as songs to celebrate weddings, births, and circum- 
cision, or as paraliturgical songs sung at various Jewish festivities. 

To be able to enjoy these Judaeo- Spanish songs today, when hardly more than a few 



42 



precarious remnants of the Sephardic tradition survive, is perhaps an invitation not 
only to savor their music and the stories that they recount, but also to reflect on how a 
people in exile succeeded in keeping alive for centuries their own tradition (Jewish and 
Hispanic), while enriching it thanks to their coming into contact and living with many 
other and diverse cultures. 

— Paloma Diaz-Mas 

(translated by Jacqueline Minett) 




ARTISTS 

Jordi Savall 

Jordi Savall is an exceptional figure in today's music world. For more than 
thirty years he has been devoted to the rediscovery of neglected musical 
treasures: thirty years of research, study and interpretation, both as gambist 
and musical director. He has restored an essential repertoire to all those 
with ears to hear it. Beyond the happy few who already revered the instru- 
ment, he has created a wide audience for the viola da gamba, an instru- 
ment so refined that it takes us to the very brink of silence. Together with 
Montserrat Figueras, he has founded three ensembles — Hesperion XX, La 
Capella Reial, and Le Concert des Nations; together, they explore and create a world of beauty 
and emotion which reaches out to millions of music-lovers worldwide and has established 
them as the leading exponents of so many neglected musical gems. One of the most multi- 
fariously gifted musicians of his generation, his career as a concert performer, teacher, 
researcher, and creator of new projects, both musical and cultural, make him one of the 
principal architects of the current revaluation of historical music. The pivotal part he played 
in Alain Corneau's film Tous les Matins du Monde {All the Mornings of the World), which won 
a Cesar award for the best soundtrack, his intense concert activity (140 concerts per year), 
recording projects (six per year), and more recendy the creation of his own record label, Alia 
Vox, is proof that early music does not have to be elitist or of interest only to a minority, and 
that it can and indeed does appeal to an increasingly large and young audience. Like many 
other musicians, at the age of six Jordi Savall began his musical training as a member of the 
boys' choir of Igualada (Barcelona), the town where he was born, and later studied the cello 
at the Barcelona Conservatoire, from which he graduated in 1964. In 1965 he began to teach 
himself the viola da gamba as well as studying ancient music {Ars Musicae). In 1968 he began 
his specialist musical training at the Schola Cantorum Basiliensis in Basel, Switzerland, where 
in 1973 he succeeded his own master, August Wenzinger, and continues to give courses and 
master classes. He has recorded over 170 CDs. Jordi Savall's numerous awards and distinctions 
include Officier de l'Ordre des Arts et des Lettres (1988) from the French Ministry of 
Culture and Communication; the Sant Jordi Cross (1990) awarded by the Generalitat 
(Autonomous Government) of Catalonia; "Musician of the Year" (1992), awarded by Le 
Monde de la Musique; "Soloist of the Year" (1993) awarded by Victoires de la Musique; the 
"Gold Medal for Fine Arts" (1998) from the Spanish Ministry of Culture and the Arts; 
Honorary Member of the Konzerthaus, Vienna (1999); Doctor honoris causa of the Catholic 
University of Louvain, Belgium (2000) and of the University of Barcelona, Spain (2006); 
" Victoire de la Musique" in recognition of his professional achievements (2002); the Gold 
Medal of the Parliament of Catalonia (2003), and the German Preis der Deutschen Schall- 
plattenkritik (2003). The CD-Book Miguel de Cervantes. Don Quijote de la Mancha. Romances 
y musicas won the Midem Classica Awards (2005) in the category of Early Music and was 
also chosen as Disc of the Year. This CD-Book was nominated for the Grammy Awards 
2007. Jordi Savall's most recent musical work, Lachrimae Caravaggio, combines literature, 
music, and painting in an innovative CD dedicated to this brilliant and unfortunate painter; 



43 




seven "tears" and seven moments with music from the epoch and from Jordi Savall bring 
together a musical counterpoint as in an "imaginary soundtrack" of the painter's life, and at 
the same time seven of his last paintings are commented by the writer Dominique Fernandez, 
who has been recently considered as one of the "Immortals" in his nomination by the Academy 
of Letters. 

Montserrat Figueras 

Montserrat Figueras is an outstanding performer in a vast vocal repertoire 
which spans the Mediaeval, Renaissance, and Baroque periods. Born in 
Barcelona into a family of music lovers, she performed while still very 
young with Enric Gispert and Ars Musicae, studying singing with Jordi 
Albareda as well as dramatic interpretation. In 1966, she began studying 
early singing techniques, from the troubadours to the Baroque, developing 
a highly individual approach which draws directly on original sources, 
both historical and traditional, unfettered by the influences of the post- 
Romantic school. Her artistic and personal union with Jordi Savall, which has proved so 
fruitful in the couple's multiple teaching, research, and creative activities, dates from 1967. 
The mutually reciprocal, lasting impact of this collaboration on both their lives is particularly 
evident in the development of an innovative style of interpretation, characterized by great 
fidelity to the historical sources, combined with an extraordinary creative and expressive 
power, that has exerted a decisive influence on the whole historical music movement. In 
1968, Ms. Figueras pursued her musical training in Basel (Switzerland) under Kurt Widmer, 
Andrea von Rahm, and Thomas Binkley at the Schola Cantorum Basiliensis and the Musi- 
kakedemie. In the 1970s, she rose to eminence as one of a generation of musicians who 
realized that vocal music before 1800 required a new technical and stylistic approach capable 
of restoring, to the beauty and emotion of the voice, that most human of all forms of expres- 
sion, the necessary balance between singing and declamation, with an emphasis on the poetic 
and spiritual dimension of the text. Between 1974 and 1989, Ms. Figueras was co-founder 
of the ensembles Hesperion XX, La capella Reial de Catalunya, and Le Concert des Nations. 
Both in conjunction with these ensembles and as a soloist, she has been instrumental in 
the rediscovery of a musical heritage as eclectic as it is exceptional. She has thus magically 
brought to life such unjustly neglected music as the ancient Song of the Sibyl, the lullabies 
included in her recent recording Ninna Nanna, Misteri d'Elx and Isabel I, not forgetting her 
legendary performances of Trobayritz, Llibre Vermeil de Montserrat, Sephardic Ballads, Golden 
Age Cancioneros, Tonos Humanos of the Hispanic Baroque, and monographic programs devoted 
to Milan, Mudarra, Narvaez, Guerrero, Victoria, Marin, Merula, Monteverdi, Frescobaldi, 
Caccini, Charpentier, Mozart (Requiem), Sor, and also the operas of Monteverdi (L'Orfeo) 
and Martin y Soler (II Burbero di buon cuore and Una cosa rara). Montserrat Figueras regularly 
performs at the major European, American, and Asian music festivals. Her more than sixty 
compact disc recordings have received numerous awards and distinctions, including "Grand 
Prix de l'Academie du Disque Francais," "Edison Klasik," "Grand Prix de la Nouvelle Acade- 
mie du Disque," and "Grand Prix de l'Academie Charles Cross," and nominations (2001 and 
2002) for the Grammy Award. In 2003 she was awarded the distinction of Offlcier de l'Ordre 
des Arts et des Lettres by the French government. Her latest CD, the internationally acclaimed 
Lux Feminae (on Alia-Vox), is "a tribute to the woman and her history," from the Middle 
Ages to the Renaissance. 




44 




Hesperion XXI 

In antiquity, Hesperia was 
the name given to the two 
most westerly peninsulas 
in Europe — the Italian and 
the Iberian peninsulas. In 
classical Greek, Hesperio 
was used to refer to a per- 
son originating from either 
of the two peninsulas, and 
it was also the name given 
to the planet Venus when 
it appeared in the western sky at night. United by a common goal — the study and interpreta- 
tion of ancient music according to new, modern criteria — and fascinated by the immense 
richness of the Hispanic and European musical repertoire before 1800, in 1974, in Basel, 
Jordi Savall, Montserrat Figueras, Lorenzo Alpert, and Hopkinson Smith founded the 
ensemble Hesperion XX. In its more than thirty years of existence, the group has, in collabo- 
ration with other outstanding performers, rescued numerous works and programs from obliv- 
ion, thus contributing to a major reappraisal of the fundamental aspects of the Mediaeval, 
Renaissance and Baroque repertoires. From the moment it was created, Hesperion XYhas 
carried out an intense schedule of concert performances and regularly appears at the main 
international music festivals. At the beginning of the new millennium, Hesperion XX contin- 
ues to be a front-line tool for musical research, in 2000 reflecting the advent of the new cen- 
tury by changing its name to Hesperion XXI. The ensemble has been characterized by its 
eclectic approach to the process of artistic decision-making: as 21st century musicians, its 
members' objectives are grounded in the search for a dynamic synthesis of musical expres- 
sion, stylistic and historical research, and creative imagination. The fascinating task of recon- 
structing the rich exuberance of music from other ages, specifically music composed from the 
tenth to the eighteenth century, has breathed new life into current musical thinking. Thanks 
to the energy and passionate vocation of its members, Hesperion XXI has conquered the new 
Europe of nations and extracted the precious ore of its musical traditions. It has toured and 
harvested the music of Europe, the Middle and the Far East, and the New World. The 
group's recordings and live performances have enabled us to rediscover Sepharad through its 
interpretation of Judaeo-Christian songs, Golden Age Spain, the madrigals of Monteverdi, 
and the Creole villancicos of Latin America. Their fifty-seven CDs, which include Cansds de 
Trobairitz, El Llibre Vermeil de Montserrat, Diaspora Sefardi, Musica napolitana, Musica en el 
tiempo de Cervantes, El Barroco Espanol, and Ostinato, as well as the monographic albums 
devoted to G. Gabrielli, G. Frescobaldi, S. Scheidt, W. Lawes, J. Cabanilles, F. Couperin, and 
J.S. Bach, and the recent recordings of the music of A. Ferrabosco and music in the age of 
Queen Isabella I of Castile (on Alia Vox; www.aliavox.com), are eloquent testimony to the 
wealth of possibilities offered by Hesperion XXI. 




45 



^k 




Tangle wood 




Sunday, July 15, at 8:30 

Florence Gould Auditorium, Seiji Ozawa Hall 

ANDRE PREVIN, piano 
JIM HALL, guitar 
DAVID FINCK, bass 



SEIJI OZAWA HALL 






AN EVENING OF JAZZ WITH ANDRE PREVIN 
AND SPECIAL GUESTS JIM HALL AND DAVID FINCK 

Selections to be announced from the stage 



Piano by Bosendorfer New York — Bosendorfer Concert Grand 290 "Imperial" 
prepared by Gerhard Feldmann 



State Street Global Advisors is proud to sponsor the 2007 Tanglewood season. 



Steinway and Sons Pianos, selected exclusively for Tanglewood 

Special thanks to Delta Air Lines and Commonwealth Worldwide Chauffeured Transportation 

In consideration of the performers and those around you, cellular phones, pagers, 
and watch alarms should be switched off during the concert 

Please do not take pictures during the concert. Flashes, in particular, are distracting to 
the performers and other audience members. 

Note that the use of audio or video recording equipment during performances in the 
Music Shed or Ozawa Hall is prohibited. 




ARTISTS 

Andre Previn 

Composer/conductor/pianist Sir Andre Previn has received numerous 
awards and honors for his outstanding musical accomplishments. He 
holds both the Austrian and German Cross of Merit, was a Kennedy 
Center honoree for his lifetime achievements, and was knighted by Her 
Majesty Queen Elizabeth II in 1996. On March 14, 2006, in Toronto, he 
was presented with the Glenn Gould Prize. In February 2005, at the 47th 
Grammy Awards, he was honored for his disc with Anne-Sophie Mutter 
of his own Violin Concerto {Anne-Sophie) and Bernstein's Serenade for 
violin and orchestra, the former recorded with the Boston Symphony Orchestra, the latter 
with the London Symphony Orchestra. Musical America has named him "Musician of The 
Year"; his first opera, A Streetcar Named Desire, was awarded the Grand Prix du Disque. A 

46 




^HHHV - 



frequent guest with the world's major orchestras, he appears regularly with the Boston 
Symphony Orchestra (with which he first appeared in 1977 at Tanglewood), the New York 
Philharmonic, and Vienna Philharmonic, to name a few, and has held chief artistic posts 
with the Houston Symphony, London Symphony, Los Angeles Philharmonic, Pittsburgh 
Symphony, Oslo Philharmonic, and Royal Philharmonic. Podium appearances this season 
include the Oslo Philharmonic, the Gewandhaus Orchestra of Leipzig, the Maggio Musicale 
Fiorentino, and the Boston Symphony Orchestra. In March 2007, his opera A Streetcar 
Named Desire was performed in Vienna. At Tanglewood in July he leads two programs with 
the Boston Symphony Orchestra and appears as pianist in Ozawa Hall with guitarist Jim 
Hall and bass player David Finck for an evening of jazz. His 2007-08 season will include 
three weeks with the NHK Symphony in Tokyo, appearances with the London Symphony 
Orchestra and Rotterdam Philharmonic, tour performances with the Royal Concertgebouw 
Orchestra of Amsterdam with Anne-Sophie Mutter as soloist, and an appearance at the Blue 
Note in New York. As a pianist, Mr. Previn often performs in a trio with Anne-Sophie Mutter 
and cellist Lynn Harrell, and as a jazz pianist with David Finck. He has given recitals with 
Renee Fleming at Lincoln Center, and with Barbara Bonney at Carnegie Hall and the 
Mozarteum in Salzburg; he performs chamber music frequently with the Emerson String 
Quartet, as well as with members of the Boston Symphony, London Symphony, and Vienna 
Philharmonic. Recent successes as a composer have included a work for the Emerson String 
Quartet and Barbara Bonney commissioned by Carnegie Hall; two works for Anne-Sophie 
Mutter, both of which they have recorded {Tango, Song, and Dance for violin and piano, and 
his Violin Concerto, written for Ms. Mutter and the BSO); and Diversions for orchestra, 
written for and recorded by the Vienna Philharmonic. His opera A Streetcar Named Desire, 
on a libretto by Philip Littell based on the play by Tennessee Williams, was premiered in 
1998 under his direction at San Francisco Opera, with Renee Fleming as Blanche Dubois. 
The opera was broadcast on television, recorded for Deutsche Grammophon for release on 
compact disc, and has also been issued on DVD. Mr. Previn's second opera, Brief Encounter, 
commissioned by Houston Grand Opera, will be premiered there in May 2009. His Harp 
Concerto, commissioned by the Pittsburgh Symphony, will be premiered in March 2008. A 
double concerto for violin and viola, written for Anne-Sophie Mutter and Yuri Bashmet, will 
be premiered in New York in 2009. Earlier compositions have included a piano concerto for 
Vladimir Ashkenazy, a cello sonata for Yo-Yo Ma, and song cycles for Janet Baker, Kathleen 
Battle, Barbara Bonney, and Anthony Dean Griffey. Current projects also include new song 
cycles for Barbara Bonney and Renee Fleming, and a clarinet sonata for BSO clarinetist 
Thomas Martin. Mr. Previn teaches regularly at the Curtis Institute of Music and the 
Tanglewood Music Center, where he works with the student orchestras, conductors, and 
composers, and coaches chamber music. 

Jim Hall 

Born in Buffalo and educated at the Cleveland Institute of Music, Jim 
Hall moved to Los Angeles, where he began to attract national and then 
international attention in the late 1950s. By 1960 he had arrived in New 
York to work with Sonny Rollins and Art Farmer, among others. His live 
I and recorded collaborations with Bill Evans, Paul Desmond, and Ron 
Wk Carter are legendary. Not only is he one of the jazz world's favorite gui- 

^L (T^ i^L tarists, but he has also earned critical acclaim for his skills as a composer 
^Mftk ~~4*^1 I and arranger. The first formal recognition came in 1997, when he won the 
New York Jazz Critics Circle Award for Best Jazz Composer/ Arranger. His pieces for string, 
brass, and vocal ensembles can be heard on his recordings "Textures" and "By Arrangement." 
His original composition Quartet Plus Four, a piece for jazz quartet augmented by the Zapolski 
string quartet, was premiered in Denmark during the concert and ceremony where he was 
awarded the coveted Jazzpar Prize, and was later released on CD. Jim's most recent large- 
scale composition — a concerto for guitar and orchestra, commissioned by Towson University 
in Maryland for The First World Guitar Congress — was premiered in June 2004 with the 




47 



Baltimore Symphony. The title of the work, Peace Movement, is indicative of Jim's desire to 
contribute to world peace through his music. He views music as a way of bonding people 
together and crossing barriers, be they barriers of geography, ideology, religion, or other dis- 
criminations, a view expressed when he accepted the NEA Jazz Masters Fellowship Award in 
January 2004: "I am pleased to be one of the peacemakers." In addition to the recent focus on 
orchestral and choral composition, Jim Hall remains active as a player, working and recording 
with a variety of ensembles all around the world. In addition to working with his trio, he 
likes to spice up the mix with various guests; from time to time you might hear Joe Lovano, 
Greg Osby, the New York Voices, Kenny Barron, Pat Metheny, Slide Hampton, and others 
working for a night or two with Jim's groups. Several of these guests can be heard on a live 
recording entitled "Panorama." On occasion these alliances lead to more intensive collabora- 
tive projects, such as the "Jim Hall 8c Basses" recording featuring Scott Colley, Charlie Haden, 
Dave Holland, George Mraz, and Christian McBride, and the "duets" project with Pat 
Metheny. Jim's latest project, "Magic Meeting," a CD featuring the Jim Hall Trio with Scott 
Colley and Lewis Nash, was recorded live at the Village Vanguard in New York City in April 
2004. Jim's new website (www.jimhallmusic.com) enables him to share with his audience a 
personal view of his creative process, as well as the finished product. Via the web, audiences 
can participate not just by purchasing the new CD, but by "being there" behind the scenes, 



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"...casting a spell that envelops Jr 
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for tickets: 41 3-298-5576 
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The Main Stage Season is sponsored by Country Curtains. The Red Lion Inn, and Blantyre | 



48 




so to speak, witnessing Jim's preparation for a project, meeting the players, hearing the out- 
takes, and more. Some years ago, Guitar Player magazine quoted Jim as saying "I do feel 
good about my playing. The instrument keeps me humble. Sometimes I pick it up and it 
seems to say 'No, you can't play today.' I keep at it anyway though." Jim and his wife Jane, 
who is both a psychoanalyst and a songwriter, live in New York City's Greenwich Village 
with their dog Django. 

David Finck 

For bass player David Finck, music is a language all its own. He has 
played and recorded with diverse artists, among them Dizzy Gillespie, 
Aretha Franklin, Sinead O'Connor, Natalie Cole, Rod Stewart, Herbie 
Hancock, Ivan Lins, Al Jarreau, Tony Bennett, Paquito D'Rivera, George 
Michael, Rosemary Clooney, and Andre Previn, to name just a few. Over 
the years, he has become one of the most sought-after musicians in 
Manhattan, equally revered for his work in jazz, popular, Brazilian, and 
classical music. He's bridged musical diversity through his skills, but even 
more so through his ability to hear music as language in an almost literal sense, through the 
breaths taken during a phrase, its vocabulary, its inflections, and its syntax. Becoming a musi- 
cian was genetically pre-ordained for David — his parents are both involved in music, and he 
began playing bass at the age of ten. While still in high school, he studied with several of the 
Philadelphia Orchestra's double bassists before he began college at the Eastman School of 
Music in Rochester, New York. He had barely settled in New York City after graduation 
when he left New York to tour with Woody Herman and his Thundering Herd. He has 
since played with the artists mentioned above and many more; his discography lists more 
than 100 recordings, including platinum- and gold-selling records with Rod Stewart, Natalie 
Cole, and Elton John. He considers himself to have been educated by everyone he's had an 
opportunity to work with: by Rosemary Clooney, an amazing storyteller through songs; 
Paquito D'Rivera, who provided an opportunity to acquire language in Cuban, Brazilian, 
Mexican, Venezuelan, and Dominican music; Linda Eder, "a phenomenal vocalist," and the 
"incredibly skilled musician" Andre Previn. David singles out Dizzy Gillespie not only for his 
skill, but also for a seemingly straightforward compliment ("Hey, man, I really like the way 
you play") that, coming from Dizzy, left him completely overwhelmed. Not long ago, David 
increased his personal vocabulary, transitioning from his role as a bassist to that of producer, 
arranger, and songwriter, realizing that in those areas, too, is a language to be learned, passed 
down, and communicated from one person to another. Since then, he has articulated his 
expertise on the subject through writing liner notes and lecturing; for example, the Village 
Voice invited him to write about Frank Sinatra as a jazz musician in a special issue celebrating 
Sinatra's eightieth birthday, and he spoke at Hofstra University on the same subject. Two of 
the artists for whom he has applied his unique perspective are Christy Baron (whose live 
recordings for the audiophile label Chesky Records pose particularly rigorous challenges) and 
Peter Cincotti (whom he's known since Peter was fourteen or fifteen, and who recognizes 
David as a musical mentor). Currently living in New York, David feels that the horizon is 
limitless. He's long been recognized as one of New York's most gifted musicians; and now, 
with the release of Christy Baron's Take This Journey and national recognition as a producer, 
songwriter and arranger, it's clear that his gifts are not limited to four strings. 




49 



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Tanglewood Experience 








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Monday, July 16, at 8:30 

Florence Gould Auditorium, Seiji Ozawa Hall 

THE DANIEL FREED CONCERT, IN MEMORY OF 
SHIRLEE COHEN FREED 

TANGLEWOOD MUSIC CENTER ORCHESTRA 
MARK ELDER, SEAN NEWHOUSE (TMC Conducting Fellow), 
and KAZEM ABDULLAH (TMC Conducting Fellow), conductors 



SEIJI OZAWA HALL 



STRAVINSKY 



HAYDN 



Danses concertantes 

I. Marche — Introduction 
II. Pas d'action 

III. Theme varie 

IV. Pas de deux 

V. Marche — Conclusion 

SEAN NEWHOUSE conducting 

Symphony No. 92 in G, Oxford 

Adagio — Allegro spiritoso 

Adagio 

Menuet: Allegretto 

Presto 

KAZEM ABDULLAH conducting 



INTERMISSION 



SHOSTAKOVICH 



Symphony No. 1 in F minor, Opus 10 

Allegretto — Allegro non troppo 

Allegro 

Lento 

Allegro molto 

MARK ELDER conducting 



State Street Global Advisors is proud to sponsor the 2007 Tanglewood season. 



Steinway and Sons Pianos, selected exclusively for Tanglewood 

Special thanks to Delta Air Lines and Commonwealth Worldwide Chauffeured Transportation 

In consideration of the performers and those around you, cellular phones, pagers, 
and watch alarms should be switched off during the concert 

Please do not take pictures during the concert. Flashes, in particular, are distracting to 
the performers and other audience members. 

Note that the use of audio or video recording equipment during performances in the 
Music Shed or Ozawa Hall is prohibited. 



51 





NOTES ON THE PROGRAM 

Igor Stravinsky (1882-1971) 

Danses concertantes for chamber orchestra 

Like many members of his social class, Stravinsky left Russia permanently in 1913, on 
the eve of World War I and the Russian Revolution. After a few years in Switzerland, 
he moved to France and eventually became a French citizen. No doubt he would have 
remained in France if not for the rise of Hitler and Naziism, whose growing threat led 
him to move to the United States in 1940. American life (mainly in Los Angeles) so 
suited this most international and adaptable of composers that he proudly became an 
American citizen in 1945. One of the first works Stravinsky created in America was the 

Danses concertantes, for a chamber orchestra of twenty- four 
instruments; the first performance took place on February 8, 
1942, in Los Angeles. 

Like his compatriot Tchaikovsky, whom he so admired, and 
to whose legacy he felt especially indebted, Stravinsky was able 
to synthesize the rich traditions absorbed from his Russian 
education with the broader stream of Western culture. It 
helped, of course, that both composers received their early 
training and artistic impressions in the cosmopolitan setting 
of the imperial capital of St. Petersburg. Subsequently, in their 
theatrical and symphonic compositions, both men fiercely 
resisted the strong isolationist tendencies of Russian art and music, rejecting the often 
simplistic, even ethnographic, nationalism favored by many of their contemporaries 
before and after the Russian Revolution of 1917. 

Since Stravinsky was only eleven when Tchaikovsky died, he never had the opportu- 
nity to meet him. In An Autobiography, however, he does recall seeing Tchaikovsky at a 
concert in late 1893, less than a month before Tchaikovsky died suddenly and unexpect- 
edly of cholera. Had Tchaikovsky lived longer, he would surely have met Stravinsky, for 
Stravinsky's father Fyodor (1843-1902), a well-regarded bass at the Imperial Mariinsky 
Theater in St. Petersburg, knew Tchaikovsky quite well and had even sung roles in the 
Petersburg premieres of several of his operas. According to some sources, the Tchaikovsky 
and Stravinsky families may even have been distantly related through the Counts 
Alexander and Konstantin Litke. 

Questions of blood kinship aside, it is certain that the music of Tchaikovsky exer- 
cised an enormous influence on Stravinsky, especially on Stravinsky's works for the 
stage. Stravinsky himself admitted that Tchaikovsky "was the first to bring about the 
serious recognition of ballet music in general." Stravinsky's early ballets, especially The 
Firebird, are deeply indebted to Tchaikovsky in subject matter and form. As time went 
on, Stravinsky's bold experiments in harmony, rhythm, instrumentation, and formal 
structure of course went far beyond anything Tchaikovsky could have imagined in 
refinedym de siecle Petersburg. But Stravinsky never lost his respect and affection for 
Tchaikovsky, "for whom my admiration has continued to grow with the development of 
my musical consciousness." Full of nostalgic, even wistful reminiscences — some obvious 
and some more subtle — of the world of the Mariinsky Theater and of Tchaikovsky's 
music, the Danses concertantes shows us the truth of this evaluation. 

In 1944, another Russian-turned-American, choreographer George Balanchine, 
staged Danses concertantes in New York as his first new work for the Ballet Russe de 
Monte Carlo. Stravinsky did not write Danses concertantes as a dance score; it was 
intended for concert performance. Even so, as Stephen Walsh writes in The Music of 



52 



Stravinsky y the style of the music and the labels given to each of the five movements 
draw heavily on "a dance model based on prescriptions of formal sequence but not for- 
mal procedure." A Marche-Introduction in highly changeable 2/4 meter is followed by 
a Pas d'action in which the meter changes very frequently, often in each bar. The third 
movement, Theme varie, by far the longest, presents a theme and four variations. The 
piece concludes with a Pas de deux and a reprise of the opening march. The scoring is 
fascinating for its infinite rhythmic innovation, unusual instrumental combinations, and 
precise use of detail. 

Joseph Haydn (1732-1809) 
Symphony No. 92 in G, Oxford 

Haydn's appearance at Oxford University's Sheldonian Theatre was emblematic of his 
emergence in his late fifties as a celebrity, everything that would be expressed today with 
getting on the cover of Time and being the subject of a segment of 60 Minutes. It was 
the historian Charles Burney, having earned his own doctorate in music at University 
College, Oxford, who proposed that Haydn be given an honorary degree and who made 
all the arrangements. 

Haydn's token degree exercise was the composition of an ingenious three-voice 
canon on the text "Thy voice, o Harmony, is divine" and the conducting of three con- 
certs. At the presentation of the degree in the Sheldonian 
Theatre on July 7, 1791, Haydn responded to the applause by 
raising the ends of his robe and saying loudly "I thank you," 
whereupon those present replied by calling up to him, "You 
speak very good English." 

Because Haydn had arrived from London later than ex- 
pected, he had to conduct a symphony already familiar to 
the Oxford musicians, there being no time for rehearsal; how- 
ever, we do not know which one was chosen. A rehearsal was 
scheduled for the second morning, and on that evening the 
present G major symphony, now called the Oxford, was played 
to the same acclaim it had already received at its three performances at Johann Peter 
Salomon's concerts in London in March and April that same year. It was the last sym- 
phony Haydn wrote before the epiphany of the great dozen for London. Rich in inven- 
tion, melodic charm, orchestral brilliance, humor, and that easy intellectual luxuriance 
so central to Haydn's musical personality, it was the perfect choice for his introduction 
to London and for the momentous occasion at Oxford. 

Haydn begins with slow music, slow and quiet. His slow introductions are predomi- 
nantly quiet, but most often they start with a forceful call to attention. Not here. As the 
introduction proceeds, clarity gives way to mystery, and the music disappears into silence 
in a very strange place indeed. Stranger still, though, is what happens next. The Allegro 
begins as if in mid-thought on the dominant-seventh chord of the home key of G major, 
not in itself a strange chord in the least, but made to sound foreign and surprising by 
the elaborate non-preparation for it in the last seconds of the introduction. The first 
theme, which Haydn has invented for its contrapuntal potential, dominates the move- 
ment from here on. It even reappears where you might well expect a new, second theme, 
but that is a familiar strategy of Haydn's, wit and husbandry combined. A cute hands- 
in-pockets whistling theme, charmingly adorned with flute scales, brings the exposition 
to an end. The development proper is dazzling, but the recapitulation, with its expan- 
sions, reshufflings, its exuberant inability to let anything alone, far outdoes it in adven- 
ture. This is as brilliant a sonata movement as any that Haydn ever made up, and that 




53 



means they don't come more brilliant in anybody's catalogue. 

The slow movement is expansively lyrical, with wonderful, delicately dissonant com- 
mentary by the solo flute and oboe. For contrast Haydn gives us an energetic tutti in 
D minor, actually his first forceful trumpet-and-drum music in this symphony. The 
coda, with the pathos of its broken-off runs for flute and violins, and its cadenza-like 
woodwind quartet, is amazing. The Minuet is vigorous and funny. I am not about to 
explain or otherwise anticipate Haydn's jokes, but you might just try to keep track of the 
regular ONE-two-three when the horns with pizzicato strings begin the Trio. Beethoven 
remembered this movement and used it well when he wrote the minuet in his Eighth 
Symphony. 

The finale begins with one of Haydn's spritziest tunes, parsimoniously unharmonized, 
with only a single cello rocking back and forth on the keynote G. Haydn shows us not 
only that this super-simple bass can take on a further dimension of humor when it is 
assigned to other instruments, but, more subtly, that because the first presentation of 
the theme is so studiedly neutral there is more room for the inexhaustible scope of his 
invention. The music moves so surprisingly, so touchingly, so amusingly, above all so 
swifdy that when it has run its five-minute course it seems as though Haydn had barely 
started to do all that might be done with his material. If Haydn had actually written 
this symphony as his degree exercise for Oxford, his would have been the best-earned 
doctorate in the 800-year history of that university. 



Dmitri Shostakovich (1906-1975) 
Symphony No. 1 in F minor, Opus 10 

An aunt remembered the young "Mitya" as "a very serious and sensitive child, often very 
meditative. . . and rather shy," fond of fairy tales, forever composing or improvising at the 
piano, though inclined to be modest about his music, reading Gogol, practicing Liszt, 
but loving Mussorgsky and Rimsky-Korsakov most of all. The same aunt, Nadezhda 
Galli-Shohat, who emigrated to the United States in 1923, told her nephew's biogra- 
pher, V.I. Seroff, that when she first heard the Symphony No. 1, she was astonished to 
recognize in it many fragments she had heard him play as a young boy, some of them 
associated with, among other matters, La Fontaine's fable of the grasshopper and the 

ant and with Hans Christian Andersen's tale The Little Mer- 
maid. It was, in any event, clear that music was to be central 
in the boy's life and that in spite of all financial hardships — 
and these were considerable in the Shostakovich family — his 
gift had to be protected and nurtured. Well prepared, first at 
home, then at Glyaser's Music School, he was admitted to the 
Conservatory in Petrograd (as St. Petersburg was then called) 
in 1919. 

His principal teacher in composition was Maximilian 
Steinberg, himself a pupil of Rimsky-Korsakov (whose daugh- 
ter Nadezhda he married), Glazunov, and Liadov. Steinberg's 
own musical inclinations were academic-conservative, but he was a good teacher, able to 
help his pupil become articulate in a language many of whose details can hardly have 
been to the older man's taste. Moreover, when the plan for a Leningrad Philharmonic 
performance seemed about to be shipwrecked because Shostakovich had no money to 
pay for the copying of orchestra parts, the conservatory undertook to foot the bill, some- 
thing that would never have been done without Steinberg's support. 

Shostakovich came to the challenge of writing his graduation symphony (completing 
it in December 1925) as a surprisingly experienced composer, even of orchestral works; 




54 



the assurance with which he both imagines and realizes a large-scale structure is as im- 
pressive as the vigor and freshness of gesture. Of course, one can hear what music he 
has been reading and listening to, and what has delighted him: in, for example, Prokofiev's 
nose-thumbing, wrong-note humor, Mahler's twisting the tails of commonplaces, and 
Stravinsky's Petrushka. The basic design, too, is that of the conventional four move- 
ments, though with the scherzo second and the slow movement third. Throughout, 
Shostakovich finds ways of playing interestingly within the form, producing events in 
unexpected order, interrupting, linking, reverting. The contour of the phrase played by 
the clarinet when the first movement has made the transition from the provocatively 
discontinuous introduction into the "real" discourse is in one way or another common 
ground for much of the material of the entire symphony. His orchestral imagination is 
highly developed, such points as the passages for divided solo strings in the first and last 
movements, the piano writing in the scherzo, and the famous timpani solo in the finale 
being merely the most immediately noticeable instances. The slow movement in partic- 
ular is evidence that at eighteen and nineteen he had much to say, and much of aston- 
ishing depth; and every phrase is a wonderful signal of the arrival of a new, eloquent, 
personal, always unmistakable voice. 

— From notes by Harlow Robinson (Stravinsky) and 
Michael Steinberg (Haydn, Shostakovich) 

Harlow Robinson, Matthews Distinguished University Professor at Northeastern University, is 
the author of Sergei Prokofiev: A Biography, The Last Impresario: The Life, Times and Legacy of Sol 
Hurok, and the forthcoming Russians in Hollywood: Biography of An Image. 

Michael Steinberg was the Boston Symphony Orchestra's Director of Publications from 1976 
to 1979, having previously been music critic of the Boston Globe for twelve years. After leaving 
Boston, he was program annotator for the San Francisco Symphony and then also for the New 
York Philharmonic. 




ARTISTS 

Mark Elder 

Conducting the Tanglewood Music Center Orchestra for the first time, 
Mark Elder has been music director of the Halle Orchestra since Septem- 
ber 2000. He was music director of English National Opera from 1979 
to 1993, principal guest conductor of the City of Birmingham Symphony 
Orchestra from 1992 to 1995, and music director of the Rochester Phil- 
harmonic Orchestra in the United States from 1989 to 1994, and has also 
held positions as principal guest conductor of the BBC Symphony Orches- 
tra and the London Mozart Players. He works regularly with many of the 
world's leading symphony orchestras (his BSO debut was at Tanglewood in July 2004) and 
in the UK enjoys close associations with the London Philharmonic and the Orchestra of the 
Age of Enlightenment. He has appeared annually at the Proms in London for many years, 
including, in 1987 and 2006, the internationally televised Last Night of the Proms and from 
2003 with the Halle Orchestra. As an opera conductor, he has appeared at the Royal Opera — 
Covent Garden, the Metropolitan Opera, Opera National de Paris, Lyric Opera of Chicago, 
Glyndebourne Festival Opera, the Bayerische Staatsoper Munich, and the Bayreuth Festival 
(where he was the first English conductor to conduct a new production). In addition to his 
appearance with the Tanglewood Music Center Orchestra, he leads two Boston Symphony 
concerts this month, on July 15 (music of Strauss, Mahler, Delius, and Sibelius, with Thomas 
Hampson as soloist) and July 20 (an all-Beethoven program, with Christine Brewer and 
Imogen Cooper as soloists). Mark Elder was awarded the CBE by the Queen in 1989, and 



55 






won an Olivier Award in 1991 for his outstanding work at English National Opera. In May 
2006 he was named Conductor of the Year by the Royal Philharmonic Society. 

For a biography of Kazem Abdullah, see page 34. 

Sean Newhouse 

TMC Conducting Fellow Sean Newhouse is music director and conduc- 
tor of the Young Musicians Foundation Debut Orchestra, following in the 
footsteps of such distinguished previous music directors as Michael Tilson 
Thomas, Lawrence Foster, and Myung-Whun Chung. In 2006, he made 
his critically acclaimed debut with the Cleveland Orchestra. Other recent 
guest engagements have included included the Milwaukee Symphony, 
Aspen Concert Orchestra, and New World Symphony. He has served as 
guest cover conductor with the Los Angeles Philharmonic on numerous 
occasions. Winner of the Aspen Conducting Prize, Sean Newhouse studied at the American 
Academy of Conducting at Aspen, the Cleveland Institute of Music, and the Eastman School 
of Music. His conducting mentors have included David Zinman, Jorge Mester, CarlTopilow, 
and Michael Tilson Thomas. Originally trained as a violinist, his teachers included Devy Erlih 
at the Cortot School in Paris and Joanna Owen at the Eastman School of Music. 

For a listing of this summer's Tanglewood Music Center Fellows, see page 35. 






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Sunday, July 1, at 2:30 

EMERSON STRING QUARTET 
ALL-BEETHOVEN PROGRAM 

Wednesday, July 4, at 7 

THE NEW CARS 
with Todd Rundgren 
Gates open at 4 p.m.; fireworks to follow 
the concert 

Thursday, July 5, at 8:30 p.m. 

JUILLLARD STRING QUARTET 
ALL-BARTOK PROGRAM 

Celebrating the 60th anniversary of the 
Juilliard String Quartet 

Friday, July 6, at 6 (Prelude) 

MEMBERS OF THE BSO 
ANDRE PREVIN, piano 

Friday,July6,at8:30 
Opening Night at Tanglewood 

BSO— JAMES LEVINE, conductor 
HEIDI GRANT MURPHY and 
KRISTINE JEPSON, vocal soloists 
WOMEN OF THE TANGLEWOOD 

FESTIVAL CHORUS, 

JOHN OLIVER, conductor 

MENDELSSOHN Overture and Incidental 

Music to A Midsummer Nights Dream 
TCHAIKOVSKY Symphony No. 4 
Fireworks to follow the concert 

Saturday, July 7, at 10:30 a.m. 

Open Rehearsal (Pre- Rehearsal Talk at 9:30) 
BSO program of Sunday, July 8 

Saturday, July 7, at 8:30 

BSO— LUDOVIC MORLOT, conductor 
LYNN HARRELL, cello 

DVORAK Othello Overture 
TCHAIKOVSKY Variations on a Rococo 

Theme, for cello and orchestra 
TCHAIKOVSKY Pezzo capriccioso for cello 

and orchestra 
MUSSORGSKY/RAVEL Pictures at an 

Exhibition 

Sunday, July 8, at 2:30 

BSO— ANDRE PREVIN, conductor 
JEAN-PHILIPPE COLLARD, piano 

TCHAIKOVSKY Romeo and Juliet 
RACHMANINOFF Piano Concerto No. 1 
PROKOFIEV Music from the ballet 
Romeo and Juliet 



Tuesday, July 10, at 8:30 

BOSTON POPS ORCHESTRA 
KEITH LOCKHART, conductor 
GUEST VOCALISTS and TMC VOCAL 
FELLOWS 

RODGERS &HAMMERSTEIN Carousel 
(concert performance) 

Thursday, July 12, at 8:30 

HESPERION XXI 

JORDI SAVALL, director 

"The Sephardic Diaspora": Music reflecting 

the cultural richness and complexity of the 

Judeo- Spanish oral tradition 

Friday, July 13, at 6 (Prelude) 
MEMBERS OF THE BSO 

Friday,Julyl3,at8:30 

BSO— ANDRE PREVIN, conductor 
DANIEL MULLER-SCHOTT, cello 
MICHELLE DeYOUNG, mezzo-soprano 

MOZART Symphony No. 29 
HAYDN Cello Concerto No. 1 in C 
RAVEL She'he'razade, for mezzo-soprano and 

orchestra 
RAVEL Mother Goose (complete) 

Saturday, July 14, at 10:30 a.m. 

Open Rehearsal (Pre-Rehearsal Talk at 9:30) 
BSO program of Sunday, July 15 

Saturday, July 14, at 8:30 

BSO— JAMES LEVINE, conductor 
STEPHANIE BLYTHE, mezzo-soprano 
WOMEN OF THE TANGLEWOOD 

FESTIVAL CHORUS, 

JOHN OLIVER, conductor 
AMERICAN BOYCHOIR, FERNANDO 

MALVAR-RUIZ, music director 

MAHLER Symphony No. 3 

Sunday, July 15, at 2:30 p.m. 

BOSTON SYMPHONY ORCHESTRA 
MARK ELDER, conductor 
THOMAS HAMPSON, baritone 

STRAUSS Don Juan 
MAHLER Songs of a Wayfarer 
DELIUS Cynara, for baritone and orchestra 
SIBELIUS Symphony No. 2 

Sunday, July 15, at 8:30 

ANDRE PREVIN, piano, with special guests 
JIM HALL, guitar, and DAVID FINCK, bass 

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Tuesday, July 17, at 8:30 

BOSTON SYMPHONY CHAMBER 

PLAYERS 
THOMAS HAMPSON, baritone 
WOLFRAM RIEGER, piano 

SCHUMANN Dichterliebe (original version) 
BARBER Summer Music, for wind quintet 
MAHLER (arr. Hampson) Kindertotenlieder, 
for baritone and chamber ensemble 

Friday, July 20, at 6 (Prelude) 
MEMBERS OF THE BSO 

Friday,July20,at8:30 

BSO— MARK ELDER, conductor 
CHRISTINE BREWER, soprano 
IMOGEN COOPER, piano 

ALL-BEETHOVEN PROGRAM 

Leonore Overture No. 1; Piano Concerto No. 3; 
"Abscheulicher! Wo eilst du hin?. . . Komm, 
Hoffnung," from Fidelio; Symphony No. 4 

Saturday, July 21, at 10:30 a.m. 

Open Rehearsal (Pre-Rehearsal Talk at 9:30) 
BSO program of Sunday, July 22 

Saturday, July 21, at 8:30 

BSO— HANS GRAF, conductor 
CHRISTINE BREWER, soprano 
BEAUX ARTS TRIO 

ALL-BEETHOVEN PROGRAM 

Leonore Overture No. 2; Triple Concerto for 
piano, violin, and cello; Ah! perfido, Concert aria 
for soprano and orchestra; Symphony No. 2 

Sunday, July 22, at 2:30 

BSO— JENS GEORG BACHMANN, 

conductor 
LEON FLEISHER, piano 
DANIEL HOPE, violin 

ALL-BEETHOVEN PROGRAM 

Leonore Overture No. 3; Piano Concerto No. 5, 
Emperor; Romance No. 2 for violin and 
orchestra; Symphony No. 7 

Wednesday, July 25, at 8:30 

NETHERLANDS BACH SOCIETY 
JOS VAN VELDHOVEN, conductor 

J.S. BACH Mass in B minor 




Thursday, July 26, at 8:30 

NETHERLANDS BACH SOCIETY 
JOS VAN VELDHOVEN, conductor 

ALL-J.S. BACH PROGRAM 

Secular Cantatas 207a (for the name day of 
King Augustus III, Elector of Saxony) and 
214 (celebrating the birthday of the Electress 
Maria Josepha of Saxony) 

Violin Concerto No. 2 in E, BWV 1042 

Friday, July 27, at 6 (Prelude) 

TANGLEWOOD FESTIVAL CHORUS 
JOHN OLIVER, conductor 

Friday,July27,at8:30 

BSO— KURT MASUR, conductor 
JOSHUA BELL, violin 

PROKOFIEV Symphony No. 1, Classical 
PROKOFIEV Violin Concerto No. 1 
BEETHOVEN Symphony No. 1 

Saturday, July 28, at 10:30 a.m. 

Open Rehearsal (Pre-Rehearsal Talk at 9:30) 
BSO program of Sunday, July 29 

Saturday, July 28, 7:30 p.m., Shed 

TANGLEWOOD MUSIC CENTER 

ORCHESTRA 
JAMES LEVINE, conductor 
PATRICIA RACETTE (Elisabetta) 
LUCIANA D'INTINO (Princess Eboli) 
JOHAN BOTHA (Don Carlo) 
ZELJKO LUCIC (Marquis of Posa) 
JAMES MORRIS (Philip II) 
PAATA BURCHULADZE (The Grand 

Inquisitor) 
DAVID WON (The Count of Lerma) 
EVGENY NIKITIN (A Monk) 
TMC VOCAL FELLOWS 
TANGLEWOOD FESTIVAL CHORUS, 

JOHN OLIVER, conductor 

VERDI Bon Carlo 

(Concert performance of four-act version; 
in Italian with supertitles) 

Sunday, July 29, at 2:30 

BSO— KURT MASUR, conductor 

ALL-MOZART PROGRAM 

Symphony No. 39 
Symphony No. 40 
Symphony No. 41, Jupiter 

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2007TANGLEWOOD MUSIC CENTER PERFORMANCE SCHEDULE 

Unless otherwise noted, all events take place in the Florence Gould Auditorium of Seiji Ozawa Hall. 
Other venues are the Shed, Chamber Music Hall (CMH), and Theatre (TH). 

* indicates that tickets are available through the Tanglewood Box Office or SymphonyCharge. 
J> indicates free admission for ticket holders to that evening's 8:30 p.m. concert 



Thursday, June 28, at 8:30 p.m. * 
Friday, June 29, at 8:30 p.m. * 
Mark Morris Dance Group 
PURCELL Dido and Aeneas 

Sunday, July 1, at 10 a.m. 

Chamber Music Concert 

Sunday, July 1, at 8:30 p.m. 

Brass and Percussion Concert 

Monday, July 2, at 10 a.m.; 1 p.m.; 4 p.m. 

String Quartet Marathon: 
Three two-hour performances 

Saturday, July 7, at 6 p.m. J> 
Prelude Concert 

Sunday, July 8, at 10 a.m. 

Chamber Music Concert 

Monday, July 9, at 2:30 p.m. 

Opening Exercises 

(free admission; open to the public) 

Monday, July 9, at 8:30 p.m. * 

The Phyllis and Lee Coffey Memorial Concert 

TMC ORCHESTRA 

STEFAN ASBURY, KAZEM ABDULLAH 

(TMC Fellow), and ERIK NIELSEN 

(TMC Fellow), conductors 
RAVEL Le Tombeau de Couperin 
BARTOK Suite from The Miraculous Mandarin 
HOLST The Planets 

Tuesday, July 10, at 8:30 p.m. (Shed) * 

BOSTON POPS ORCHESTRA 

KEITH LOCKHART, conductor 

with TMC Vocal Fellows 

RODGERS ScHAMMERSTEIN Carousel 

Saturday, July 14, at 6 p.m. J> 
Prelude Concert- Vocal Recital 

Sunday, July 15, at 10 a.m. 

Chamber Music Concert 

Monday, July 16, at 6 p.m. J> 
Prelude Concert 

Monday, July 16, at 8:30 p.m. * 

The Daniel Freed Concert, in memory of 

Shirlee Cohen Freed 
TMC ORCHESTRA 
MARK ELDER, SEAN NEWHOUSE 

(TMC Fellow), and KAZEM ABDULLAH 

(TMC Fellow), conductors 
STRAVINSKY Danses concertantes 
HAYDN Symphony No. 92, Oxford 
SHOSTAKOVICH Symphony No. 1 



Saturday, July 21, at 6 p.m. «h 

Prelude Concert 

Sunday, July 22, at 10 a.m. 

Chamber Music Concert 

Sunday, July 22, at 8:30 p.m. (CMH) 

Music of TMC Composition Fellows 

Monday, July 23, at 8:30 p.m. 

Vocal Recital 

Saturday, July 28, 6 p.m. J> 
Prelude Concert 

Saturday, July 28, at 7:30 p.m. (Shed) * 
The Leonard Bernstein Memorial Concert 
To benefit the Tanglewood Music Center 
TMC ORCHESTRA 
JAMES LEVINE, conductor 
VOCAL SOLOISTS 
VERDI Don Carlo 

(Concert performance of four-act version, 
sung in Italian with English supertitles) 

Sunday, July 29 - Thursday, August 2 

2007 FESTIVAL OF CONTEMPORARY 
MUSIC 

John Harbison, director 

Made possible by the generous support of Dr. 
Raymond and Hannah H. Schneider, with 
additional support through grants from The 
Aaron Copland Fund for Music, the Argosy 
Foundation, the National Endowment for 
the Arts, the Fromm Music Foundation, and 
The Helen F. Whitaker Fund 

Five days of new music performed by TMC 
Fellows, the Boston Symphony Orchestra, 
and guest artists 

Detailed program information available at 
the Main Gate 

Saturday, August 4, at 6 p.m. J> 

Prelude Concert 

Sunday, August 5, at 10 a.m. 

Chamber Music Concert 

Saturday, August 11, at 2 p.m. (Theatre) * 
Sunday, August 12, at 7:30 p.m. (Theatre) * 
Monday, August 13, at 7:30 p.m. (Theatre) * 
Tuesday, August 14, at 7:30 p.m. (Theatre) * 
TANGLEWOOD MUSIC CENTER 

VOCAL FELLOWS AND ORCHESTRA 
JAMES LEVINE, conductor 

(August 11, 12, 14) 
KAZEM ABDULLAH (TMC Fellow), 

conductor (August 13) 
IRA SIFF, director 






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JOHN MICHAEL DEEGAN and 

SARAH G. CONLY, design 
MOZART Cost fan tutte 
(Fully staged production, sung in Italian with 

English super titles) 

Saturday, August 11, at 6 p.m. J> 
Prelude Concert 

Sunday, August 12, at 10 a.m. 

Chamber Music Concert 

Wednesday, August 15 at 2 p.m. * 

TANGLEWOOD ON PARADE 

To benefit the Tanglewood Music Center 

Afternoon events: TMC Vocal Recital at 
2:30 p.m.; TMC Chamber Music at 3 p.m. 
(CMH); Music for Shakespeare's Macbeth by 
TMC Composition Fellows at 5 p.m., with 
Tina Packer and Shakespeare & Company 
actors and the New Fromm Players 

TMC Brass Fanfares at 8 p.m. (Shed) 

Gala Concert at 8 :30 p.m. (Shed) 

TMC ORCHESTRA, BSO, and 
BOSTON POPS ORCHESTRA 

JAMES LEVINE, JOHN WILLIAMS, KEITH 
LOCKHART, and RAFAEL FRUHBECK de 
BURGOS, conductors 

To include music of BERLIOZ, DVORAK, 
BRAHMS, BEETHOVEN, LERNER (from 
My Fair Lady), LLOYD-WEBBER (from 
Phantom of the Opera), EBB (from Chicago), 
JOHN WILLIAMS (Suite from Jane Eyre), 
and TCHAIKOVSKY {1812 Overture) 

Saturday, August 18, at 6 p.m. «h 
Prelude Concert 

Sunday, August 19, at 10 a.m. 

Chamber Music Concert 



Sunday, August 19, at 2:30 p.m. (Shed) * 

TMC ORCHESTRA 

RAFAEL FRUHBECK DE BURGOS, 

conductor 
TANGLEWOOD FESTIVAL CHORUS, 

JOHN OLIVER, conductor 
BEETHOVEN Symphony No. 9 

Sunday, August 19, at 7:30 p.m. (Theatre) 

Opera Scenes 




TMC TICKETS 

General Public and Tanglewood Donors up to $75: 

For TMC concerts (other than TMC Orchestra con- 
certs and opera performances), tickets are available 
only at the Ozawa Hall Box Office, beginning one 
hour before concert time. Tickets are $11. Please note: 
availability for seats inside Ozawa Hall is limited and 
concerts may sell out. 

Advance tickets for TMC Orchestra concerts 
(July 9; July 16; August 1) and opera performances 
(July 28 Don Carlo; August 11-14 Cost fan tutte) 
are available at the Tanglewood Box Office, by 
calling SymphonyCharge at 1-888-266-1200, or 
at www.tanglewood.org. 

Friends of Tanglewood at the $75 level receive one 
free admission and Friends of Tanglewood at $150 
level or higher receive two free admissions to TMC 
chamber performances or recitals by presenting their 
membership cards at the Bernstein Gate one hour 
before concert time. Additional tickets are $11. For 
information on becoming a Friend of Tanglewood, 
call (413) 637-5261, or visit www.bso.org. 

Further information about TMC events is available at 
the Tanglewood Main Gate, at www.tanglewood.org, 
or by calling (413) 637-5230. All programs are sub- 
ject to change. 



2007 BOSTON UNIVERSITY TANGLEWOOD INSTITUTE 

Concert Schedule (all events in Seiji Ozawa Hall unless otherwise noted) 

ORCHESTRA PROGRAMS: Saturday, July 14, 2:30 p.m. Morihiko Nakahara conducts music 
of Berlioz, Harbison, and Tchaikovsky; Saturday, July 28, 2:30 p.m., Paul Haas conducts 
Monteverdi, Corigliano, and Mahler; Saturday, August 11, 2:30 p.m. David Hoose conducts 
Loeffler and Copland. 

WIND ENSEMBLE PROGRAMS: Friday, July 13, 8:30 p.m. David Martins conducts McTee, 
Camp house, William Schuman, Dana Wilson, and Sparke; Saturday, July 28, 11:00 a.m. 
H. Robert Reynolds conducts Ticheli, Adams/Spinazzola, Gryc, Grainger, Jonathan Newman, 
Grantham, and a new work by former TMC Fellow Katharine Soper. 

VOCAL PROGRAMS: Saturday, August 4, 2:30 p.m. Ann Howard Jones conducts Corigliano, 
Kim, and Orff. 

CHAMBER MUSIC PROGRAMS: all in the Chamber Music Hall at 6 p.m.: Tuesday, July 17; 
Wednesday, July 18; Thursday, July 19; Monday, August 6; Tuesday, August 7; Wednesday, 
August 8. 

Tickets available one hour before concert time. Admission is $11 for orchestra concerts, 
free to all other BUTI concerts. For more information, call (413) 637-1430. 



In the Berkshiresy Nature Sets Th 



Tanglewood Insert, June 24 to July 31, 2007 

Animagic Museum of Animation, 
Special Effects and Art 

Lee, (413) 841-6679 

www.mambor.com/animagic 

View technologies from the movies like 

The Matrix, Chicken Run. Make your 

animation movie. 

Arrowhead 

Pittsfield, (413) 442-1793 

www.berkshirehistory.org 

Melville's home. Exhibition Fertile Ground: 

Berkshire Artists and Writers: 1846 - 1841. 

Becket Arts Center of Hilltowns 

Becket, (413) 623-6635 
www.becketartcenter.org 
Exhibits, free 6c low tuition. 
Arts Workshops. Ages 5 6c up. 
Free Lasker Lectures, special events. 

Berkshire Botanical Garden 

Stockbridge, (413) 298-3926 

www.berkshirebotanical.org 

Display gardens open 10-5 daily. Garden 

ornament exhibition 6/9 - 8/31, Fete 7/14. 

Berkshire Choral Festival 

Sheffield, (413) 229-8526 

www.choralfest.org 

Choral masterpieces - 200 voices Springfield 

Symphony Orchestra. July 14, 21, 28 at 8 pm. 

Berkshire Museum 

Pittsfield, (413) 443-7171 
www.berkshiremuseum.org 
Kid stuff: Great Toys From 
Our Childhood, July 1 - Sept. 3. 
200 Vintage toys 6c hands-on play. 

Berkshire Music School 

Pittsfield, (413) 442-1411 
www.berkshiremusicschool.org 
Summer Music 6c Theatre Camps. 
Call for brochure. 

Berkshire Opera Company 

Pittsfield, (413) 442-9955 
www.berkshireopera.org 
Moonlight at the Mahaiwe 7/5, 8 pm. 
Berkshire Opera Company conducted 
by Joel Reuzen. 

Berkshire Scenic Railway Museum 

Lenox, (413) 637-2210 
www.BerkshireScenicRailroad.org 
Scenic 90 minute train rides Lenox - 
Stockbridge weekends only. 10 am 6c 2 pm. 
Gilded Age Exhibit. 

The Berkshire Visitors Bureau's Cultural 

Alliance thanks The Studley Press, Inc. 

for donating these pages. 



The Bidwell House Museum 

Monterey, (413) 528-6888 
www.bidwellhousemuseum.org 
1750 Colonial saltbox tours, 11-3. 
Trails. Gardens. Thursday - Monday. 
18th century experience. 

Chester Theatre Company 

Chester, (413) 354-7771 

www.chestertheatre.org 

The Bully Pulpit with Michael O. Smith, 

7/5 - 7/15. The Interview by Faye Sholiton, 

7/18 - 7/29. 

Chesterwood 

Stockbridge, (413) 298-3579 

www.chesterwood.org 

The home of sculptor Daniel Chester French. 

Outdoor exhibition June 22 - October 8. 

The Colonial Theatre 

Pittsfield, (413) 997-4444 

www.thecolonialtheatre.org 

Don't miss the "'Summer In The City' series at 

The Colonial in downtown Pittsfield, MA! 

Crane Museum Of Paper Making 

Dalton, (413) 684-6481 

www. cr ane . com 

Crane Museum of Paper Making, June - 

mid October, 1-5 pm. Free admission. 

Frelinghuysen Morris House & Studio 

Lenox, (413) 637-0166 
www. frelinghuysen. org 
Documentary screening party - July 20. 
Guided tours Thurs. - Sun. on the hour. 
Next to Tanglewood. 

Hancock Shaker Village 

Pittsfield, (413) 443-0188 

www.hancockshakervillage.org 

Age of Iron Weekend at Hancock Shaker 

Village. Try your hand as a blacksmith! 

August 18 6c 19. 

IS183 Art School 

Stockbridge, (413) 298-5252 

www.isl83.org 

Art classes for children, teens 6c adults year 

round. Painting, drawing, ceramics 6c more. 

Jacob's Pillow Dance Festival 

Becket, (413) 243-0745 

www.jacobspillow.org 

Royal Danish Ballet - World Premiere 

and Pillow exclusive July 11 to 15, 8 pm. 

Sat. 6c Sun. Matinee. 

The Mac-Haydn Theatre 

Chatham, (518) 392-9292 

www.machaydntheatre.org 

The Pajama Game, Thoroughly Modern Millie, 

White Christmas in thearre-in-the-round! 



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Scene and Culture Steals The Show 



MASSMoCA 

North Adams, (413) MoCAlll 
www.massmoca.org 

Presenting art from Spencer Finch plus con- 
temporary music - Bang on a Can Festival. 
7/12-28. 

MCLA Gallery 51 

North Adams, (413) 664-8718 

www.mcla.edu/gallery51 

Featuring a retrospective of fantastical art 

work by Kent Mikalsen, June 28 - July 22. 

The Mount, Edith Wharton's 
Estate and Gardens 

Lenox, (413) 637-1899 

www. edithwharton. org 

Edith Wharton's elegant 1902 estate. Mansion 

and gardens open daily 9-5 pm. Cafe, shop. 

Naumkeag House & Garden 

Stockbridge, (413) 298-3239, x3000 

www.thetrustees.org 

Music in the garden, Sundays in July. 

7/1, 7/8, 7/15, 7/22, 7/29. From 2 to 3 pm. 

Norman Rockwell Museum 

Stockbridge, (413) 298-4100 

www.nrm.org 

Ephemeral beauty: Al Parker and 

The American Women's Magazine 

1940 - 1960. Through Oct. 28. 

North Adams Museum of History & Science 

North Adams, (413) 664-4700 
www.geocities . com/northadamshistory 
IRON HORSE Talk on railroad's role in NA. 
Sun., June 25, 2 pm. Bldg 4, 
Heritage State Park. Free. 

Pleasant Valley Wildlife Sanctuary 

Lenox, (413) 637-0320 

www.massaudubon.org 

Enjoy 7 miles of well marked walking trails 

on 1300 acres. Open daily, dawn to dusk. 

Upper Housatonic Valley 
National Heritage Area 

Berkshire County (MA) and 

Litchfield County (CT) 

www.housatonicheritage.org 

A catalyst for preserving and celebrating 

our culture, history and natural resources. 

Sculpture Now 

Stockbridge, (413) 623-2068 
Sculpture Now on Main Street 2007. 
21 large outdoor sculptures in 
Stockbridge, MA. June 1 - Oct. 31. 



Shakespeare & Company 

Lenox, (413) 637-3353 

www.Shakespeare.org 

Top tier Shakespeare and important 

new voices. Up to four shows a day. 

Many free programs. 

Sterling and Francine Clark Art Institute 

Williamstown, (413) 458-2303 
www. clarkart.edu 

The Unknown Monet features rarely seen pas- 
tels 6c drawings alongside familiar paintings. 

Storefront Artist Project 

Pittsfield, (413) 442-7201 

www.storefrontartist.org 

Selections from the Cultural Corridor, group 

exhibition. Fri. - Sun. 12-5 pm. 124 Fenn St. 

The Theater Barn 

New Lebanon, (518) 794-8989 

www.theaterbarn.com 

Professional Theater in the Country. June - 

October. Area premieres of plays and musicals. 

Ventfort Hall Mansion and 
Gilded Age Museum 

Lenox, (413) 637-3206 
www.gildedage.org 

Tours-exhibits-concerts-theater-lectures-teas- 
private rentals-kids programs-picnics-more. 

William College Museum of Art 

Williamstown, (413) 597-2429 

www.wcma.org 

Making it new: The art and style of Sara and 

Gerald Murphy begins July 8. Free Admission. 

Williamstown Theatre Festival 

Williamstown, (413) 597-3400 

www. wtfestival. org 

Richard Kind in THE FRONT PAGE, 

BLITHE SPIRIT & premiere of VILLA 

AMERICA in July. 

While you're in the Berkshires, be 
sure to come see the Berkshire Visitors 
Bureau's "Discover the Berkshires" Visitor 
Centers in Adams and Pittsfield. Enjoy 
displays, multimedia presentations and 
grab the latest information on Berkshire 
attractions. 




Berkshires 



■ 
■ 



■ 



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I 



Berkshire Visitors Bureau • 800-237-5747 • www.berkshires.org 
3 Hoosac Street • Adams, MA and 109 South Street • Pittsfield, MA 



*■■■•■' 




EDUCATIONAL DIRECTORY 





Student Musician. Citizen. 

Preparing boys and girls from 
across the country, around the world, 

and down the street for all the 
challenges of college and life beyond. 



Berkshire School 

SHEFFIELD, MASSACHUSETTS 



413.229.851 1 www.berkshireschool.org 



Buxton School 

educating progressively and living intentionally since 1928 



291 South Street Williamstown MA 01267 

www.BuxtonSchooLorg 

413.458.3919 



bnenan 
is nroui 



ndoah Conservatory of Shenandoah University 
is proud to announce two very special affiliations 





Shenandoah Conservatory 

• Located in the beautiful Shenandoah Valley 
— just an hour west of Washington, D.C. 

• More than 1 00 faculty and 700 students 

• Excellence in the performing arts since 1 875 

For more information and to schedule a 
campus visit, contact Admissions at 
800.432.2266 



Laurence Kaptain, Dean 

Shenandoah Conservatory 

Voice 540.665.4600 Fax 540.665.5402 

www.su.edu/conservatory 








THE KOUSSEVITZKY SOCIETY 

The Koussevitzky Society recognizes gifts made since September 1, 2006, to the 
following funds: Tanglewood Annual Fund, Tanglewood Business Fund, Tanglewood 
Music Center Annual Fund, and Tanglewood restricted annual gifts. The Boston 
Symphony Orchestra is grateful to the following individuals, foundations, and busi- 
nesses for their annual support of $3,000 or more during the 2006-2007 season. For 
further information, please contact Barbara Hanson, Manager of the Koussevitzky 
Society, at (413) 637-5278. 



Linda J.L. Becker 
George and Roberta Berry 



VIRTUOSO $50,000 to $99,999 

Country Curtains Carol and Joe Reich in memory 

Dorothy and Charlie Jenkins of Nan Kay 



A Friend of the Tanglewood 

Music Center 
Jan Brett and Joseph Hearne 
Sally and Michael Gordon 



ENCORE $25,000 to $49,999 

Joyce and Edward Linde 
Mrs. Evelyn Nef 
Susan and Dan Rothenberg 
Dr. and Mrs. Michael Sporn 



Mr. and Mrs. James V. Taylor 
Stephen and Dorothy Weber 



Robert and Elana Baum 
BSO Members' Association 
Canyon Ranch in the Berkshires 
Joseph and Phyllis Cohen 
Cynthia and Oliver Curme 
Ginger and George Elvin 
Daniel Freed in memory of 

Shirlee Cohen Freed 
The Frelinghuysen Foundation 



MAESTRO $15,000 to $24,999 

Cora and Ted Ginsberg 
Leslie and Stephen Jerome 
Stephen B. Kay and Lisbeth 

Tarlow 
Mr. and Mrs. John M. Loder 
James A. Macdonald Foundation 
Jay and Shirley Marks 
Mrs. August R. Meyer 
Drs. Eduardo and Lina Plantilla 



Irene and Abe Pollin 

The Red Lion Inn 

Carole and Edward I. Rudman 

Dr. Raymond and Hannah H. 
Schneider 

Tony, Pam and Sarah Schneider 
in honor of Hannah and Ray's 
60th wedding anniversary 



BENEFACTORS $10,000 to $14,999 



The Berkshires Capital Investors 
Blantyre 

Ms. Sandra L. Brown 
Catherine and Paul Buttenwieser 
Ms. Agatina Carbonaro 
Erskine Park LLC 
Hon. and Mrs. John H. 
Fitzpatrick 



Nancy J. Fitzpatrick and Lincoln 

Russell 
The Hon. Peter H.B. 

Frelinghuysen 
Mr. and Mrs. Lawrence S. Horn 
Margery and Everett Jassy 
In memory of Florence and 

Leonard S. Kandell 



Robert and Luise Kleinberg 
Mrs. Millard H. Pryor, Jr. 
Mr. Alan Sagner 
Mr. and Mrs. Ira Sarinsky 
Evelyn and Ronald Shapiro 
The Studley Press, Inc. 
Anonymous (1) 



Abbott's Limousine &c Livery 

Service, Inc. 
Norman Atkin, M.D. and Phyllis 

Polsky 
Ann and Alan H. Bernstein 
Mr. and Mrs. Paul Berz 
Mr. and Mrs. Lee N. Blatt 
Brad and Terrie Bloom 
Broadway Manufacturing 

Supply LLC 
Ann Fitzpatrick Brown 
Ronald and Ronni Casty 
Mr. John F. Cogan, Jr. and 

Ms. Mary L. Comille 
James and Tina Collias 
Dr. Charles L. Cooney and 

Ms. Peggy Reiser 



SPONSORS $5,000 to $9,999 

Ranny Cooper and David Smith 
Mr. and Mrs. Herbert J. Coyne 
Crane 6c Company, Inc. 
Mr. and Mrs. William F. Cruger 
Mr. and Mrs. Clive S. Cummis 
Paul F. and Lori A. Deninger 
Ursula Ehret-Dichter and 

Channing Dichter 
Ms. Marie V. Feder 
Doucet and Stephen Fischer 
Mr. and Mrs. Dale E. Fowler 
Herb and Barbara Franklin 
Dr. Donald and Phoebe Giddon 

in memory of Rabbi Howard 

Greenstein 
Roberta and Macey Goldman 
Mr. and Mrs. Robert A. Goodman 



Corinne and Jerry Gorelick 

John and Chara Haas 

Mr. and Mrs. Scott M. Hand 

Joseph K. and Mary Jane Handler 

Dr Lynne B Harrison 

Mr. and Mrs. Francis W. Hatch, Jr. 

Mrs. Paul J. Henegan 

Mrs. Marilyn Brachman Hoffman 

Dr. and Mrs. Edwin H. Hopton 

Stephen and Michele Jackman 

Prof, and Mrs. Paul Joskow 

Mr. and Mrs. Michael P. Kahn 

Mr. and Mrs. Louis Kaitz 

Martin and Wendy Kaplan 

Natalie Katz in memory of 

Murray S. Katz 
Leo A. Kelty 



Continued on next page 




SPONSORS $5,000 to $9,999 (continued) 



Mr. and Mrs. Michael Kittredge 
Mr. and Mrs. Jacques Kohn 
Koppers Chocolate 
Liz and George Krupp 
Norma and Sol D. Kugler 
William and Marilyn Larkin 
Legacy Banks 

Mr. and Mrs. Jesse J. Lehman 
Cynthia and Robert J. Lepofsky 
Mrs. Vincent Lesunaitis 
Buddy and Nannette Lewis 
Mr. and Mrs. Murray Liebowitz 
Phyllis and Walter F. Loeb 
Mr. and Mrs. Edwin N. London 
Dr. Robert and Jane B. Mayer 
Mr. and Mrs. Thomas T. McCain 
Carol and Thomas McCann 
Mr. and Mrs. John C. Morris 
Mrs. Alice D. Netter 
Mr. and Mrs. Chet Opalka 
Patten Family Foundation 



Polly and Dan Pierce 
Claudio and Penny Pincus 
Mr. Frank M. Pringle 
Quality Printing Company, Inc. 
The Charles L. Read Foundation 
Robert and Ruth Remis 
Elaine and Bernard Roberts 
Barbara and Michael Rosenbaum 
Maureen and Joe Roxe/ 
The Roxe Foundation 
David and Sue Rudd 
Mr. and Mrs. Kenan E. Sahin 
Malcolm and BJ Salter 
Marcia and Albert Schmier 
Mr. and Mrs. Ernest Schnesel 
Mrs. Dan Schusterman 
Mr. and Mrs. Marvin Seline 
Arlene and Donald Shapiro 
Sheffield Plastics, Inc. 
Hannah and Walter Shmerler 
Marion and Leonard Simon 



Mr. and Mrs. Irving Smokier 
Margery and Lewis Steinberg 
Jerry and Nancy Straus 
Marjorie and Sherwood Sumner 
Mr. and Mrs. George A. Suter, Jr. 
Mr. Aso Tavitian 
TD Banknorth 
Mr. and Mrs. Wilmer J. 

Thomas, Jr. 
Jacqueline and Albert Togut 
Loet and Edith Velmans 
Mrs. Charles H. Watts II 
Karen and Jerry Waxberg 
Mr. and Mrs. Edwin A. 

Weiller III 
Mrs. Anne Westcott 
Wheatleigh Hotel 6t Restaurant 
Robert C. Winters 
Mr. and Mrs. Ira Yohalem 
Anonymous (3) 



Alii and Bill Achtmeyer 
Mr. and Mrs. Ronald Altaian 
Bonnie and Louis Altshuler 
Lucille Batal 
Arthur Appelstein and Lorraine 

Becker 
Gideon Argov and Alexandra 

Fuchs 
Joseph F. Azrack and Abigail S. 

Congdon 
Helene and Ady Berger 
Jerome and Henrietta Berko 
Berkshire Bank 
Berkshire Life Insurance 

Company of America 
Jane and Raphael Bernstein/ 

Parnassus Foundation 
Ms. Joyce S. Bernstein and 

Mr. Lawrence M. Rosenthal 
Linda and Tom Bielecki 
Hildi and Walter Black 
Eleanor and Ed Bloom 
Birgit and Charles Blyth 
Mr. and Mrs. Nat Bohrer 
Mr. and Mrs. Nicholas Boraski 
Marlene and Dr. Stuart H. 

Brager 
Mr. and Mrs. James H. Brandi 
Jane and Jay Braus 
Marilyn and Arthur Brimberg 
Judy and Simeon Brinberg 
Samuel B. and Deborah D. 

Bruskin 
Mr. and Mrs. Allan Bufferd 
Gregory E. Bulger Foundation 
Cain, Hibbard, Myers 6t Cook 



MEMBERS $3,000 to $4,999 

Phyllis H. Carey 
David and Maria Carls 
Mary Carswell 
Casablanca 
Iris and Mel Chasen 
Audrey and Jerome Cohen 
Barbara Cohen-Hobbs 
Judith and Stewart Colton 
Linda Benedict Colvin in 

loving memory of her brother, 

Mark Abbott Benedict 
In memory of D.M. Delinferni 
Dr. and Mrs. Harold L. Deutsch 
Chester and Joy Douglass 
Paula and Tom Doyle 
Dresser-Hull Company 
Ms. Judith R. Drucker 
Terry and Mel Drucker 
Mr. Alan Dynner 
Mr. and Mrs. Leonard Edelson 
Mr. and Mrs. Monroe B. England 
Eitan and Malka Evan 
Mr. and Mrs. Carl M. Feinberg 
Mr. & Mrs. Philip Fidler 
Mr. and Mrs. John C. Fontaine 
Mr. and Mrs. David Forer 
Marjorie and Albert Fortinsky 
Ms. Bonnie Fraser 
Rabbi Daniel Freelander and 

Rabbi Elyse Frishman 
Mr. Michael Fried 
Carolyn and Roger Friedlander 
Myra and Raymond Friedman 
Audrey and Ralph Friedner 
David Friedson and Susan Kaplan 
Mr. and Mrs. Robert L. Gable 



Jill and Harold Gaffin 
Agostino and Susan Galluzzo 
Mr. and Mrs. Leslie J. Garfield 
Drs. Ellen Gendler and 

James Salik in memory of 

Dr. Paul Gendler 
Mr. and Mrs. Melvin Y. 

Gershman 
Dr. Anne Gershon 
Stephen A. Gilbert and 

Geraldine R. Staadecker 
David H. Glaser and Deborah F. 

Stone 
Sy and Jane Glaser 
Mr. and Mrs. Andrew Goldfarb 
Mr. and Mrs. Seymour L. 

Goldman 
Judith Goldsmith 
Roslyn K. Goldstein 
Goshen Wine 6c Spirits, Inc. 
Mr. and Mrs. Richard Grausman 
Stacey Nelkin and Marco 

Greenberg in memory of 

Edith B. Greenberg 
Mr. Harold Grinspoon and 

Ms. Diane Troderman 
Carol and Charles Grossman 
Ms. Bobbie Hallig 
Felda and Dena Hardymon 
William Harris and Jeananne 

Hauswald 
Mr. and Mrs. Richard Harte 
Mr. Lee Hemphill and 

Ms. Elsbeth Lindner 
Mr. Gardner C. Hendrie and 

Ms. Karen J. Johansen 






MEMBERS $3,000 to $4,999 (continued) 



Mr. and Mrs. Robert I. Hiller 
Mr. and Mrs. Stuart Hirshfield 
Mr. Arnold J. and Helen G. 

Hoffman 
Charles and Enid Hoffman 
Lila and Richard Holland 
Mrs. Ruth W. Houghton 
Housatonic Curtain Company, 

Inc. 
Mr. Walter B. Jr. and 

Mrs. Nancy Howell 
Lola Jaffe in memory of 

Edwin Jaffe 
Liz and Alan Jaffe 
Mr. and Mrs. Werner Janssen, Jr. 
Mr. and Mrs. Daniel R. Johnson 
Mr. and Mrs. R. Courtney Jones 
Ms. Lauren Joy and Ms. Elyse 

Etling 
Nedra Kalish 
Adrienne and Alan Kane 
Mr. and Mrs. Arnold Y. Kapiloff 
Ms. Cathy Kaplan 
Leonard Kaplan and Marcia 

Simon Kaplan 
Mr. and Mrs. Eric Katzman 
Mr. Chaim and Dr. Shulamit 

Katzman 
Walter Kaye 
Mr. John F. Kelley 
Mr. and Mrs. Bruce Kelly 
Mr. and Mrs. George H. Kidder 
Mr. and Mrs. Carleton F. Kilmer 
Deko and Harold Klebanoff 
Dr. and Mrs. Lester Klein 
Mr. Robert E. Koch 
Dr. and Mrs. David Kosowsky 
Mr. and Mrs. Ely Krellenstein 
Mr. and Mrs. Irving Kronenberg 
Mr. and Mrs. Richard Kronenberg 
Naomi Kruvant 
Dr. and Mrs. Stephen Kulvin 
Mildred Loria Langsam 
Mr. and Mrs. William Lehman 
Mr. and Mrs. Marvin Lender 
The Lenox Athenaeum 
David and Lois Lerner Family 

Foundation 
Don and Gini LeSieur 
Mr. Arthur J. Levey and 

Ms. Rocio Gell 
Valerie and Bernard Levy 
Marjorie T. Lieberman 
Geri and Roy Liemer 
Dr. David Lippman and 

Ms. Honey Sharp 
Jane and Roger Loeb 
Gerry and Sheri Lublin 
Diane H. Lupean 
Gloria and Leonard Luria 
Mrs. Edward Lustbader 
I. Kenneth and Barbara Mahler 



Mr. and Mrs. Darryl Mallah 
Rev. Cabell B. Marbury 
Peg and Bob Marcus 
Suzanne and Mort Marvin 
Sydelle and Ed Masterman 
Mr. Daniel Mathieu and 

Mr. Thomas M. Potter 
Mary and James Maxymillian 
Joel Robert Melamed MD in 

memory of Charles Elliot Ziff 
The Messinger Family 
Rebecca and Nathan Milikowsky 
Mr. and Mrs. Michael Monts 
Gloria Narramore Moody 

Foundation 
In memory of Ruth O. Mulbury 

from a grateful nephew 
Mr. and Mrs. Joseph L. Nathan 
Jerry and Mary Nelson 
Linda and Stuart Nelson 
Bobbie and Arthur Newman 
Mr. and Mrs. Gerard O'Halloran 
Dr. and Mrs. Martin S. 

Oppenheim 
Mr. and Mrs. Michael Orlove 
Dr. and Mrs. Simon Parisier 
Wendy Philbrick in memory 

of Edgar Philbrick 
Mr. Peter Philipps 
Plastics Technology 

Laboratories, Inc. 
Mr. and Mrs. Jonathan Poorvu 
Mr. and Mrs. Kenneth Poovey 
Fern Portnoy and Roger 

Goldman 
Mr. and Mrs. Walter Pressey 
Mary Ann and Bruno A. 

Quinson 
Mr. and Mrs. Nathan Reiber 
Bruce Reopolos 
Mr. and Mrs. Stanley Riemer 
Mary and Lee Rivollier 
Fred and Judy Robins 
Ms. Deborah Ronnen and 

Mr. Sherman F. Levey 
Mr. Brian Ross 
Mr. and Mrs. Stanley Ross 
Suzanne and Burton Rubin 
Mr. and Mrs. Milton B. Rubin 
Mr. and Mrs. Michael Salke 
Samuel and Susan Samelson 
Mr. Robert M. Sanders 
Norma and Roger A. Saunders 
Dr. and Mrs. Wynn A. Sayman 
Mr. Gary S. Schieneman and 

Ms. Susan B. Fisher 
Pearl and Alvin Schottenfeld 
Mr. Daniel Schulman and 

Ms. Jennie Kassanoff 
Carol and Marvin Schwartzbard 
Mr. and Mrs. Sheldon Seevak 
Betsey and Mark Selkowitz 



Carol and Richard Seltzer 
Mr. and Mrs. Daniel Shapiro 
Mr. and Mrs. Joel Shapiro 
Natalie and Howard Shawn 
Jackie Sheinberg and Jay 

Morganstern 
The Richard Shields Family 
The Honorable and Mrs. George 

P. Shultz 
The Silman Family 
Richard B. Silverman 
Mr. and Mrs. Robert L. 

Singleton 
Mr. and Mrs. Robert S. Siskin 
Mary Ann and Arthur Siskind 
Jack and Maggie Skenyon 
Mrs. William F. Sondericker 
Harvey and Gabriella Sperry 
Emily and Jerry Spiegel 
Mr. Peter Spiegelman and 

Ms. Alice Wang 
Mrs. Lauren Spitz 
Mr. and Mrs. Charles A. Stakely 
Mr. and Mrs. Lewis Stein 
Mr. and Mrs. Daniel S. Sterling 
Mr. Ronald Stillman 
Mrs. Pat Strawgate 
Roz and Charles Stuzin 
Michael and Elsa Daspin 

Suisman 
Lois and David Swawite 
Mr. and Mrs. Richard Taylor 
Mr. and Mrs. John L. Thorndike 
Mr. and Mrs. Roger Tilles 
Diana O. Tottenham 
Barbara and Gene Trainor 
True North Insurance 

Agency, Inc. 
Myra and Michael Tweedy 
Mr. and Mrs. Howard J. Tytel 
June Ugelow 
Laughran S. Vaber 
Mr. Gordon Van Huizen and 

Ms. Diana Gaston 
Viking Fuel Oil Company 
Mr. and Mrs. William G. Walker 
Mr. and Mrs. Harvey Waller 
Mr. and Mrs. Barry Weiss 
Dr. and Mrs. Jerry Weiss 
Mr. and Mrs. Robert A. Wells 
Tom and Suky Werman 
Carol Andrea Whitcomb 
Carole White 

Peter D. Whitehead, Builder 
Mr. Robert G. Wilmers 
Mr. Jan Winkler and 

Ms. Hermine Drezner 
Richard M. Ziter, M.D. 
Lyonel E. Zunz 
Anonymous (11) 



| 





The debate about classical music is alive and well 
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ENDOWMENT FUNDS SUPPORTING THE TANGLEWOOD FESTIVAL, 
THETMC, AND YOUTH EDUCATION IN THE BERKSHIRES 

Endowment funds at the BSO provide critical on-going support for the Tanglewood Festival, the 
Tanglewood Music Center, and the BSO's youth education programs at Tanglewood and in the 
Berkshires. Other programs supported by these funds include the BSO's Days in the Arts at Tangle- 
wood and the BSO's Berkshire Music Education. 



ENDOWED ARTIST POSITIONS 

Berkshire Master Teacher Chair Fund 
Edward and Lois Bowles Master Teacher Chair Fund 
Richard Burgin Master Teacher Chair Fund 
Charles E. Culpeper Foundation Master Teacher 

Chair Fund 
Eleanor Naylor Dana Visiting Artists Fund 
Vic Firth Master Teacher Chair Fund, 

endowed by Mr. and Mrs. Henry Wheeler 
Barbara LaMont Master Teacher Chair Fund 
Renee Longy Master Teacher Chair Fund, 

gift of Jane and John Goodwin 
Harry L. and Nancy Lurie Marks Tanglewood 

Artist-In-Residence Fund 
Marian Douglas Martin Master Teacher Chair Fund, 

endowed by Marilyn Brachman Hoffman 
Beatrice Sterling Procter Master Teacher Chair Fund 
Sana H. and Hasib J. Sabbagh Master Teacher 

Chair Fund 
Surdna Foundation Master Teacher Chair Fund 
Stephen and Dorothy Weber Artist-In-Residence Fund 

ENDOWED FULL FELLOWSHIPS 

Jane W. Bancroft Fellowship 

Bay Bank/BankBoston Fellowship 

Leonard Bernstein Fellowships 

Edward S. Brackett, Jr. Fellowship 

Frederic and Juliette Brandi Fellowship 

Jan Brett and Joe Hearne Fellowship 

Rosamund Sturgis Brooks Memorial Fellowship 

Tappan Dixey Brooks Memorial Fellowship 

Mary E. Brosnan Fellowship 

BSAV/Carrie L. Peace Fellowship 

Stanley Chappie Fellowship 

Alfred E. Chase Fellowship 

Clowes Fund Fellowship 

Harold G. Colt, Jr. Memorial Fellowship 

Andre M. Come Memorial Fellowship 

Caroline Grosvenor Congdon Memorial Fellowship 

Margaret Lee Crofts Fellowship 

Charles E. Culpeper Foundation Fellowship 

Darling Family Fellowship 

Omar Del Carlo Fellowship 

Akiko Shiraki Dynner Memorial Fellowship 

Otto Eckstein Family Fellowship 

Friends of Armenian Culture Society Fellowship 

Judy Gardiner Fellowship 

Athena and James Garivaltis Fellowship 

Merwin Geffen, M.D. and 

Norman Solomon, M.D. Fellowship 
Juliet Esselborn Geier Memorial Fellowship 
Armando A. Ghitalla Fellowship 
Fernand Gillet Memorial Fellowship 
Marie Gillet Fellowship 



Haskell and Ina Gordon Fellowship 

Sally and Michael Gordon Fellowship 

Florence Gould Foundation Fellowship 

John and Susanne Grandin Fellowship 

William and Mary Greve Foundation- 
John J. Tommaney Memorial Fellowship 

Luke B. Hancock Foundation Fellowship 

William Randolph Hearst Foundation Fellowship 

Valerie and Allen Hyman Family Fellowship 

C. D. Jackson Fellowship 

Paul Jacobs Memorial Fellowship 

Lola and Edwin Jaffe Fellowship 

Billy Joel Keyboard Fellowship 

Susan B. Kaplan Fellowship 

Steve and Nan Kay Fellowship 

Robert and Luise Kleinberg Fellowship 

Mr. and Mrs. Allen Z. Kluchman Memorial 
Fellowship 

Dr. John Knowles Fellowship 

Naomi and Philip Kruvant Family Fellowship 

Donald Law Fellowship 

Barbara Lee/Raymond E. Lee Foundation Fellowship 

Bill and Barbara Leith Fellowship 

Edward H. and Joyce Linde Fellowship 

Edwin and Elaine London Family Fellowship 

Stephanie Morris Marryott & 
Franklin J. Marryott Fellowship 

Robert G.McClellan, Jr. & 
IBM Matching Grants Fellowship 

Merrill Lynch Fellowship 

Messinger Family Fellowship 

Ruth S. Morse Fellowship 

Albert L. and Elizabeth P. Nickerson Fellowship 

Northern California Fellowship 

Seiji Ozawa Fellowship 

Theodore Edson Parker Foundation Fellowship 

Pokross/Curhan/Wasserman Fellowship 

Lia and William Poorvu Fellowship 

Daphne Brooks Prout Fellowship 

Claire and Millard Pryor Fellowship 

Rapaporte Foundation Fellowship 

Harry and Mildred Remis Fellowship 

Peggy Rockefeller Memorial Fellowship 

Carolyn and George R. Rowland Fellowship 

Saville Ryan/Omar Del Carlo Fellowship 

Wilhelmina C. Sandwen Memorial Fellowship 

Morris A. Schapiro Fellowship 

Edward G. Shufro Fund Fellowship 

Starr Foundation Fellowship 

Anna Sternberg and Clara J. Marum Fellowship 

Miriam H. ana S. Sidney Stoneman Fellowships 

Surdna Foundation Fellowship 

James and Caroline Taylor Fellowship 

William F. and Juliana W. Thompson Fellowship 

Continued. . . 



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Ushers/Programmers Instrumental Fellowship 

in honor of Bob Rosenblatt 
Ushers/Programmers Harry Stedman Vocal Fellowship 
Wallace-Reader's Digest Fund Fellowship 
Max Winder Memorial Fellowship 
Jerome Zipkin Fellowship 

ENDOWED HALF FELLOWSHIPS 

Mr. and Mrs. David B. Arnold Jr. Fellowship 

Kathleen Hall Banks Fellowship 

Leo L. Beranek Fellowship 

Felicia Montealegre Bernstein Fellowship 

Sydelle and Lee Blatt Fellowship 

Brookline Youth Concerts Awards Committee 

Fellowship 
Helene R. and Norman L. Cahners Fellowship 
Marion Callanan Memorial Fellowship 
Nat Cole Memorial Fellowship 
Harry and Marion Dubbs Fellowship 
Daniel and Shirlee Cohen Freed Fellowship 
Dr. Marshall N. Fulton Memorial Fellowship 
Gerald Gelbloom Memorial Fellowship 
Adele and John Gray Memorial Fellowship 
Arthur and Barbara Kravitz Fellowship 
Bernice and Lizbeth Krupp Fellowship 
Philip and Bernice Krupp Fellowship 
Lucy Lowell Fellowship 
Morningstar Family Fellowship 
Stephen and Persis Morris Fellowship 
Dr. Raymond and Hannah H. Schneider Fellowship 
Pearl and Alvin Schottenfeld Fellowship 
Edward G. Shufro Fund Fellowship 
Evelyn and Phil Spitalny Fellowship 
R. Amory Thorndike Fellowship 
Augustus Thorndike Fellowship 
Sherman Walt Memorial Fellowship 
Patricia Plum Wylde Fellowship 

ENDOWED SCHOLARSHIPS 

Maurice Abravanel Scholarship 
Eugene Cook Scholarship 
Dorothy and Montgomery Crane Scholarship 
William E. Crofut Family Scholarship 
Ethel Barber Eno Scholarship 
Richard F. Gold Memorial Scholarship 
Leah Jansizian Memorial Scholarship 
Miriam Ann Kenner Memorial Scholarship 
Andrall and Joanne Pearson Scholarship 
Mary H. Smith Scholarship 
Cynthia L. Spark Scholarship 
Tisch Foundation Scholarship 

ENDOWED FUNDS SUPPORTING THE 
TEACHING AND PERFORMANCE PROGRAMS 

George W. and Florence N. Adams Concert Fund 

Eunice Alberts and Adelle Alberts Vocal Studies Fund* 

Elizabeth A. Baldwin DARTS Fund 

Bernard and Harriet Bernstein Fund 

George & Roberta Berry Fund for Tanglewood 

Peter A. Berton (Class of '52) Fund 

Donald C. Bowersock Tanglewood Fund 

Gino B. Cioffi Memorial Prize Fund 

Gregory and Kathleen Clear DARTS 

Scholarship Fund* 
Phyllis and Lee Coffey Memorial Concert Fund 
Aaron Copland Fund for Music 



Margaret Lee Crofts Concert Fund 
Margaret Lee Crofts TMC Fund 
Paul F. and Lori A. Deninger DARTS 

Scholarship Fund 
Alice Willard Dorr Foundation Fund 
Carlotta M. Dreyfus Fund 
Raymond J. Dulye Berkshire Music Education Fund 
Virginia Howard and Richard A. Ehrlich Fund 
Selly A. Eisemann Memorial Fund 
Elvin Family Fund 
Elise V. and Monroe B. England Tanglewood 

Music Center Fund 
Honorable and Mrs. John H. Fitzpatrick Fund 
Daniel and Shirlee Cohen Freed Concert Fund 
Ann and Gordon Getty Fund 
Gordon/Rousmaniere/Roberts Fund 
Grace Cornell Graff Fellowship Fund for 

Composers at the TMC 
Adele and John Gray Memorial Fellowship 
Heifetz Fund 

Mickey L. Hooten Memorial Award Fund 
Grace Jackson Entertainment Fund 
Grace B. Jackson Prize Fund 
Paul Jacobs Memorial Commissions Fund 
Louis Krasner Fund for Inspirational Teaching 

and Performance, established by 

Marilyn Brachman Hoffman 
William Kroll Memorial Fund 
Lepofsky Family Educational Initiative Fund 
Dorothy Lewis Fund 
Kathryn & Edward M. Lupean & 

Diane Holmes Lupean Fund 
Samuel Mayes Memorial Cello Award Fund 
Charles E. Merrill Trust TMC Fund 
Northern California TMC Audition Fund 
Herbert Prashker Fund 
Renee Rapaporte DARTS Scholarship Fund 
Mr. and Mrs. Ernest H. Rebentisch Fund 
Jules C. Reiner Violin Prize Fund 
Harvey and Elaine Rothenberg Fund 
Helena Rubinstein Fund 
Edward I. and Carole Rudman Fund 
Lenore S. and Alan Sagner Fund 
Renee D. Sanft Fund for the TMC 
Hannah and Ray Schneider TMCO Concert Fund* 
Maurice Schwartz Prize Fund by Marion E. Dubbs 
Ruth Shapiro Scholarship Fund 
Dorothy Troupin Shimler Fund 
Asher J. Shuffer Fund 
Evian Simcovitz Fund 
Albert Spaulding Fund 
Jason Starr Fund 
Tanglewood Music Center Composition 

Program Fund 
Tanglewood Music Center Opera Fund 
TMC General Scholarship Fund 
Denis and Diana Osgood Tottenham Fund 
The Helen F. Whitaker Fund 
Gottfried Wilfinger Fund for the TMC 
John Williams Fund 
Karl Zeise Memorial Cello Award Fund 
Jerome Zipkin DARTS Fund 
Anonymous (1) 

*Def erred gifts 

Listed as of June 12, 2007 




r-n. 




Tanglewood Major Corporate Sponsors, 2007 Season 

Tanglewood major corporate sponsorship reflects the increasing impor- 
tance of alliance between business and the arts. The BSO is honored to be 
associated with the following companies and gratefully acknowledges their 
partnerships. For information regarding BSO, Boston Pops, and/or 
Tanglewood sponsorship opportunities, contact Alyson Bristol, Director 
of Corporate Sponsorships, at (617) 638-9279 or at abristol@bso.org. 




William Hunt 

President and CEO 



State Street 
Global Advisors 



0^jSlJ\^s 



State Street Global Advisors (SSgA) is proud to sponsor 
Tanglewood, the world's most prestigious summer music 
festival, for its 2007 season. As an investment manager, we 
greatly appreciate the value of bringing people together in 
an environment that inspires creativity and innovation. By 
investing in the "Tanglewood experience," we are delighted 
to help preserve and sustain the combined assets of great 
classical music and nature. 




Carol Marlow 

President and Managing 
Director 



CUNARD 

THE MOST FAMOUS OCEAN LINERS IN THE WORLD SM 

Cunard Line, whose fleet comprises The Most Famous Ocean 
Liners in the World SM , Queen Mary 2, QE2, and our newest 
royal, Queen Victoria, comes aboard for the first time as the 
Official Cruise Line of the Boston Symphony Orchestra and 
Boston Pops, and sponsor of the 2007 Tanglewood Jazz Festival. 
During its storied 167-year history, Cunard's renowned ships 
have transported society's luminaries, notables, and famed artists 
around the world in unrivaled style. Sumptuous surroundings 
and the line's legendary White Star Service SM have made 
Cunard the preferred choice of luxury travel for generations. 





Joanne Smith 

Senior Vice President, 
In-flight Services & 
Global Product 
Development 



ADelta 



Delta Air Lines is pleased to support Tanglewood in its second 
season as the Official Airline of the Boston Symphony Orchestra. 
We look forward to an outstanding summer with guest appear- 
ances by today's most celebrated artists from around the world. 
At Delta, we have been a longtime supporter of the Boston and 
New York metropolitan areas, at the airport and beyond. This 
commitment to the BSO builds upon Delta's global support of 
the arts. 




Dawson Rutter 
President and CEO 




OMMONWEALTH WORLDWIDE 

CHAUFFEURED TRANSPORTATION 

Commonwealth Worldwide Chauffeured Transportation 
is proud to be the Official Chauffeured Transportation 
provider of the Boston Symphony Orchestra and the 
Boston Pops. The BSO has enhanced the Boston commu- 
nity for 125 years and we are excited to be a part of such 
rich heritage. We look forward to celebrating our relation- 
ship with the BSO, Boston Pops, and Tanglewood for 
many years to come. 




Bruce Stevens 

President 



S T E I N W A Y 



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with a distinct bar and lounge in downtown 

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www.mbia.net 1 -800-242-0030 




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Tanglewood 

Saturday, June 30, 2007, at 5:45 

Live Broadcast from the Koussevitzky Music Shed 



Prairie Home Productions 
and the Boston Symphony Orchestra present 

A Prairie Home Companion 

On Tonight's Show 

The Royal Academy of Radio Actors: 

Fred Newman 

Tim Russell 

Sue Scott 

The Guy's All-Star Shoe Band: 

Rich Dworsky 

Pat Donohue 

Gary Raynor 
Arnie Kinsella 

Andy Stein 

With special guest James Taylor 
and your host, Garrison Keillor 



A Prairie Home Companion® is produced by Prairie Home Productions and distributed 
nationwide by American Public Media. 

National underwriting for A Prairie Home Companion® is provided by Toyota and Select 
Comfort with additional support from Pillsbury. 



PLEASE TURN OFF ANYTHING THAT CHIRPS 

Microphones within the performance venue pick up your applause and laughter as part of 

our live radio broadcast. So, please turn off your pagers, telephones, or watch alarms because 

they are audible over the air. Also, please note that unauthorized video or audio recording of 

A Prairie Home Companion® is not permitted. Thanks. 



State Street Global Advisors is proud to sponsor the 2007 Tanglewood season. 



Steinway and Sons Pianos, selected exclusively for Tanglewood 

Special thanks to Delta Air Lines and Commonwealth Worldwide Chauffeured Transportation 

Please do not take pictures during the show. Flashes, in particular, are distracting to the 
performers and other audience members. 




A Note From the Host 

The show is a re-creation of my own jumbled memories of radio shows I heard on a 
floor-model Zenith receiver in Minnesota in the late '40s when I was six and my family 
lived in a basement my dad built in a cornfield, and I, formerly the youngest child, had 
been eclipsed by the birth of twin brothers who sucked every particle of adult attention 
out of the air, much as if Roy Rogers and Trigger had come to live with us, and at this 
critical moment, people on the radio became my best friends. That old Zenith was my 
life raft. And perhaps it saved the twin boys from me strangling them with a coat hanger. 
The radio pals were pretty wonderful — My Friend Irma with Marie Wilson as the dumb 
blonde with a heart of gold and J. Carroll Naish as the immigrant Luigi, and Jim and 
Marian Jordan as Fibber McGee and Molly. And there was Tom Mix ("Shredded Ralston 
for your breakfast starts the day off shining bright") and the elegant Jack Benny and 
Arthur Godfrey with his warm burry voice selling us Lipton tea. Arthur was a friendly 
uncle available to talk to you almost every day of the week. 

The Zenith radio had a big round dial and tuning knob, and the vacuum tubes gave 
off heat and a rich warm sound with bass reverberations that came up through the floor, 
so that when you lay on your stomach listening to Gene Autry sing "Back in the Saddle 
Again" on Melody Ranch you could feel warm vibrations in your stomach. For years, I 
worried about my family and whether or not we were poor. This wasn't clear to me. We 
raised vegetables in a half-acre behind the house, which my mother canned, and my dad 
cut my hair to save the two bucks at a barbershop, and we conserved on clothes, hand- 
ing them down from one child to the next. For a time I wore my sister's old jeans with 
the zipper on the side. I felt that having twins was probably much too extravagant for 
our family. But thanks to radio I maintained a sunny outlook (sort of), listening to 
Matt Dillon maintain law and order in Dodge, and Miss Brooks presided over her hap- 
less students at Madison High and mothered the nerdy but lovable Walter Denton, and 
Throckmorton P. Gildersleeve ran his girdle company in Summerfield and brought up 




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his orphaned nephew and niece, and Bobby Benson and his B-Bar-B Riders, and then 
many years later, having graduated from college with a degree in English, having writ- 
ten some jagged fiction in imitation of Kafka, casting about for something to do that 
people might be willing to pay me to do, I remembered radio and started up this 
show. And thanks for coming to see it today. 



JtfLKfi*4fi** 



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and voice-over work on radio and television. Or you might find her in a movie role or on a 
Twin Cities theater stage. 

Safe to say, jillions of people still have a copy of Sweet Baby James on vinyl. How could you 
part with an album like that? For close to four decades, James Taylor has made dozens of 
wonderful recordings — each new offering snapped up by legions of fans. He has been hon- 
ored with five Grammys, Billboard magazine's Century Award, and induction into both the 
Rock 'n' Roll Hall of Fame and the Songwriter's Hall of Fame. He made Rolling Stone's list 
of "100 Greatest Artists of All Time," and in 2006, the National Academy of Recording 
Arts and Sciences selected him as its MusiCares Person of the Year, recognizing his contri- 
butions to the preservation of the arts, as well as his commitment to environmental and 
humanitarian causes. His most recent CD is James Taylor at Christmas (Columbia). Born 
in Boston and raised in North Carolina, James currently resides in the Berkshires with 
his wife Caroline and their sons Henry and Rufus. 



Garrison Keillor has been the host of A Prairie Home Companion® for more than three 
decades. "A good way of life," he calls it. His numerous books include Lake Wobegon Days, 
The Book of Guys, Lake Wobegon Summer 1956, Wobegon Boy, and Daddy's Girl, written for his 
daughter, Maia. He is the editor of Good Poems and Good Poems for Hard Times, collections 
of poetry featured on his daily literary radio series, The Writer's Almanac. "The Old Scout," 
his weekly op-ed column, appears in newspapers coast to coast. And when he's not hunched 
over the laptop, tapping out another bit of writing, he loves to sing — especially with family 
and friends and large groups of people who also love to sing. 

The Guy's All-Star Shoe Band is led by A Prairie Home Companion® music director Richard 
Dworsky. A keyboard master with an arsenal of ideas, he has worked with artists from Al 
Jarreau to Kristin Chenoweth to the Hopeful Gospel Quartet. His latest CD is So Near and 
Dear to Me (Prairie Home Productions). Chet Atkins called Pat Donohue (guitar) one of 
the greatest finger pickers in the world today. And he writes songs too — recorded by Suzy 
Bogguss, Kenny Rogers, and others. Profile (Bluesky Records) is the most recent of Pat's 
eight albums. Gary Raynor (bass) has performed with the Count Basie band, Sammy Davis, 
Jr. — with whom he toured for several years— and the Minnesota Klezmer Band. He teaches 
jazz bass at the McNally Smith College of Music in St. Paul. Staten Island's favorite son, 
Arnie Kinsella (percussion), has played and recorded with The Manhattan Rhythm Kings, 
Leon Redbone, Vince Giordano and the Nighthawks, and others. Andy Stein (violin, saxo- 
phone) definitely has far-flung musical leanings, He collaborated with Garrison Keillor to 
create the opera Mr. and Mrs. Olson, and he has performed with artists such as Itzhak Perlman, 
Eric Clapton, Smashing Pumpkins, Billy Joel, Tony Bennett, Ray Charles, and Bob Dylan. 

Sound effects man Fred Newman is an actor, writer, musician, and sound designer for film 
and TV. He can be seen daily on public television's Between the Lions, and he is author of the 
book (and CD/CD-ROM) MouthSounds. Fred admits that, growing up, he was unceremoni- 
ously removed from several classrooms, "once by my bottom lip." 

One minute he's mild-mannered Tim Russell; the next he's Henry Kissinger or Mr. Rogers 
or George Bush. APHC has yet to stump this man of many voices. He was voted "Best Radio 
Host" by Mpls/St. Paul Magazine and "Outstanding Broadcast Personality" by the Minnesota 
Broadcasters Association. Minnesota listeners can catch Tim weekday mornings from 5 to 9 
a.m. as entertainment editor on 830 WCCO Radio. 

On APHC, Sue Scott plays everything from ditzy teenagers to Guy Noir stunners to leathery 
crones who've smoked one pack of Camel straights too many. The Tucson, Arizona, native 
and Dudley Riggs' Brave New Workshop alum is well known for her extensive commercial 



BOSTON SYMPHONY ORCHESTRA 



Tanglewood 



LENOX, MA 



July 4 @ 7pm THE NEW CARS 

Gates open at 4pm; fireworks follow the concert. 
Tickets: $21, $43, $66 

(617) 266-1200 • tanglewood.org 




State Street cc®-a 
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lewood 
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Artists to include: Randy Crawford, Kurt Elling, Roberta Gambarini, 

Jimmy Heath, Ahmad Jamal, Hank Jones, Marian McPartland, 

Joe Sample, Poncho Sanchez, and more! Tickets: $17 - $68 

Ml programs and artists subject to change. (888) 266-1200 • tangleWOodjaZzfestival.org 



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The Exclusive Music Sellef of The Exclusive Music Maga; 

The Tanglewood lazz festival of the Tanglewood fan Fes 






A Prairie Home Companion® Staff 

Managing Director: Kate Gustafson Sanderson 

Broadcast Engineers: Sam Hudson, Talent Producer; Thomas Scheuzger 

Stage Managers: Albert Webster, Tour Manager; Ken Evans, Asst. Stage Manager 

Sound Reinforcement: Tony Axtell 

Lighting Designer: Janis Kaiser 

Writers: Laura Buchholz, Greg Fideler, Holly Harden 

Project Managers: 

Deb Beck, Logistics 

Katrina Cicala, Special Projects 

Tiffany Hanssen, Producer/Special Projects 

Tony Judge, Special Projects 

Jason Keillor, Producer/Web Writer 

Andrea McAvey, Special Projects 

David O'Neill, Station Relations/Media 

Leila Rahimi, Asst. to Mr. Keillor 

Russ Ringsak, Touring and Research 

Kathryn Slusher, Producer/Music Librarian 

Production Assistants: Marguerite Harvey, Theresa Larson, Amanda McKay, 
Kathy Roach, Ella Schovanec, Noah Smith 

Website Producer: Brett Baldwin 
Tour Manager: Caroline Hontz 



Write to us: 

A Prairie Home Companion • 

611 Frontenac Place 

Saint Paul, MN 55104 

listener e-mail: phc@mpr.org 

web: www.prairiehome.org 



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Tanglewood 



Fourth of July Celebration 

Wednesday, July 4, 2007 



4:00 



4:00-7:00 



4:30 



5:15 



6:00 



Grounds open 

On the lawn 

Le Masque Theatre: Fantastic Face Painting 

Back to Life! Chair Massage 

Hurdy Gurdy Monkey and Me 

Tom Murphy 
Lawn near Shed 

Wells & Woodhead: "FOOLZ" 

Chamber Music Hall 

Randy Judkins 
Lawn near Shed 



♦:♦ ♦:♦ ♦> 



7:00 



Koussevitzky Music Shed 
James Montgomery 

Intermission 

The New Cars 



Fireworks will take place over the Stockbridge Bowl following the evening concert 

Please note: In case of inclement weather, the performances scheduled for 

the Manor House Lawn next to the Visitor Center will take 
place in the Chamber Music Hall. 







The New Cars 




Let the good times roll. . . again. This 
ain't your father's automobile, or 
your older brother's for that matter, 
but the emergence of The New Cars, 
featuring original members of The 
Cars and new musicians. Joining 
Elliot Easton on guitar and Greg 
Hawkes on keyboards, are an all-star 
group of rockers in Todd Rundgren, 
Kasim Sulton, and Prairie Prince. 
Each shares a passion for recreating the ground-breaking music of The Cars, one of 
the most successful (and influential) bands of the "new wave" era. The Cars' initial 
success was immediate. The Boston-based group's demo version of "Just What I 
Needed" was the first single from the band's debut album, The Cars, which reached 
#3 on the Billboard Pop album chart in 1978, and produced further hits such as "My 
Best Friend's Girl" and "Good Times Roll." Under the guidance of ace producers 
Roy Thomas Baker and Robert John "Mutt" Lange, a string of smash albums and 
singles followed. In 1979 Candy-O went Top 20, producing the hits "It's All I Can 
Do" and "Let's Go." Panorama cracked the Top 5 in 1980 on the strength of the hit 
single "Touch and Go," while the Top 10 release Shake It Up produced the title track 
hit and "Since You're Gone" in 1981. It's been 17 years since The Cars last toured. 
Since then, bassist Benjamin Orr passed away from cancer, and, despite discussions 
over the years, lead singer Ric Ocasek and drummer David Robinson have decided 
not to participate in a reunion. But that hasn't stopped Easton and Hawkes, who 
have longed to get back on stage and play. The Cars' material has remained popu- 
lar to this day, both on radio and on national commercials (Circuit City's television 
campaign featuring "Just What I Needed"). The addition of Todd Rundgren, a cele- 
brated performer, songwriter, producer, and technology groundbreaker (with hits 
like "I Saw the Light," "Hello It's Me," "Can We Still Be Friends," and "Bang the 
Drum") is particularly exciting, as is the involvement of his longtime Utopia band- 
mate, acclaimed bassist and singer /songwriter Kasim Sulton, who has played with 
the likes of Meat Loaf, Celine Dion, Hall & Oates, Ronnie Spector, and the Indigo 
Girls in his distinguished career. Rounding out the five-piece band is Prairie Prince, 
who embarked on a staggering 15 world tours in his career with pop /rock group 
The Tubes and recorded albums (seven of them with Rundgren himself) with a 
variety of rock's most notable musicians. The new song "Not Tonight" is immedi- 
ate proof of the new lineup's musical chemistry, and is sure to be the next anthem 
in the legacy of the group. Look for The New Cars to release a live album compris- 
ing the greatest hits of The Cars along with new material. 



James Montgomery 

When blues legend James Montgomery plays the harmonica, he "brings it on home." 
Whether recording with Kid Rock, sitting in with Gregg Allman, or fronting his hot 
band of thirty years, Montgomery plays with authority. While growing up in Detroit 
he learned first-hand from the masters — James Cotton, John Lee Hooker, and Jr. 
Wells — at the legendary "Chessmate." He has carried on in that tradition and con- 
tinues to one of the most dynamic performers on the blues scene. In 1970, while 
attending Boston University, Montgomery formed the James Montgomery Band. 



His inimitable harmonica playing combined with his incredibly energetic live shows 
led to the band's quick ascension on the New England music scene. Within two 
years, the James Montgomery band was among Boston's hottest acts, along with 
J. Geils and Aerosmith, and they were quickly signed to a multi-album deal with 
Capricorn Records. James has since recorded six albums. His first, First Time Out, 
has been remastered and re-released by MRG /Capricorn. Others include James 
Montgomery Band (Island Records), which was number nine on Billboard's national 
playlist; Duck Fever with members of the David Letterman Band; Live Trax, with the 
Uptown Horns (the Rolling Stones' horn section); and The Oven Is On (Tone-Cool). 
Montgomery has toured with many major artists, and his band has been a spring- 
board for many musicians. 

Pre-concert Performers and Activities 

Tom Murphy was born and raised in Pottsville, Pennsylvania, where he graduated 
from Pottsville High. After receiving his bachelor's degree from East Stroudsburg Uni- 
versity, he moved to Stowe, Vermont, where he spent two years as a professional acro- 
batic skier before turning his energies to the stage. He co-founded two international 
touring comedy troupes, Mountain Mime and Klown Shoes, and taught in Denmark, 
France, Germany, Austria, and in the United States (at the Boston University Theater 
Institute and Ringling Brothers' Clown College). Mr. Murphy has been featured in a 
Showtime special from "The Just for Laughs Festival" in Montreal. In Paris he was 
awarded "Number One Clown" at the 1987 international circus competition, Cirque De 
Demain. After a three-month engagement at the International Resorts Hotel in Atlantic 
City, he traveled to Hollywood to make his film debut in Ava's Magical Adventure star- 
ring Timothy Bottoms and Patrick Dempsey. For more than a decade, Mr. Murphy has 
been touring primarily in Europe and the United States, where he has built a solid rep- 
utation as a Theater Clown, continuing the slapstick tradition of Keaton, Lloyd, and 
Chaplin. No stranger to Broadway, in 1984 he co-produced with clarinetist Jean Koppe- 
rud a show entitled The Ladder and the Clarinet at the Symphony Space — it was just a bit 
shy of critical acclaim. In November 1998 Mr. Murphy performed his solo show on 
Broadway at the New Victory Theater, a 13-performance, sold-out engagement that 
also earned critical acclaim. 



Wells & Woodhead are two performers: one outwardly calm, the other wound tighter 
than a spring. If there is a dim-witted innocence about them, it's because their child- 
like charm permeates their world, placing them in situations where something almost 
always goes wrong. Veterans of film, television, radio, and the stage, Wells & Wood- 
head have performed for audiences on six continents. Their new show, "FOOLZ," is a 
character-driven amalgam of theater, music, comedy, and juggling that visually 
demonstrates the power of cooperation between two performers with different disposi- 
tions. Ricky Wells, fluent in four languages, is a Danish comic juggler with enormous 
dexterity and casual ease, while his partner, Woodhead, weaves a tapestry of chaos, 
slapstick, and "eclectic" music with the menacing uncertainty of a tornado. Wells & 
Woodhead' s signature grand finale is a one of a kind, frenzied, frenetic juggle montage 
using a consortium of absurd objects (chairs, guitars, bird cages, umbrellas, rubber 
chicken, etc.). Never two shows the same; expect the unexpected. 

A unique motivational speaker, Randy Judkins has presented his original, interactive 
programs on humor in our lives, change, stress, self-concept, and teamwork for numer- 
ous professional groups, schools, and companies in over 25 U.S. states, Canada, and 
Europe. Randy has instructed at the Ringling Brothers Barnum & Bailey Clown College 
in Horida and served as a character consultant for Tri-Star Pictures and as a Circus of the 



m 



tyoai 






Stars trainer in Hollywood.He has appeared in a handful of television commercials and 
independent films in his native state of Maine and in a special CBS This Morning 
segment filmed on location in Burlington, Vermont. The Juilliard School of Drama in 
New York City hired Randy to teach a series of master classes in character and physical 
theater. In 2002 he founded the comedy trio "The Maine Hysterical Society/' whose 
mission is "to preserve, promote, and provoke laughter" through song satires, sketch 
comedy, and improvisation. In the summer of 2005 he gathered sponsors and raised 
over $1,200 for the Boys and Girls Clubs of Greater Portland by running in the "Beach 
to Beacon" 10K Road Race while juggling three balls the entire 6.2 miles. He finished 
the race under an hour and he did not drop a ball. 

Theatre Nouveau artistes offer Fantastic Face Painting (Makiaje) for its 19th season 
at Tanglewood's July 4th celebration. This fine facial artistry consists of hand- 
blended, colour-coordinated, folk-arte Renaissance designs and masques. Each 
one, an improviZensation, is delicately dramatic, uplifting one's creative spirit. Artistic 
director Majalehn is also developing a theatre nouveau (new theatre with an evocative 
vision) and offers "the new danse of theatre" sessions, a unique movement-theatre disci- 
pline, interweaving theatre, music, and danse as profound performance artistry. 

Established in 1980, Hurdy Gurdy Monkey and Me started out as a man, a monkey, 
and a dream — OK, OK, it wasn't that dramatic — but close! Tony Lupo founded Hurdy 
Gurdy Monkey and Me after studying the lost art of old-fashioned organ grinding. 
Coco the monkey (Tony's famous better half) has been with Tony for 27 amazing 
years. Tony has raised her since she was a baby, creating his own reward training 
system. Coco and Tony have a special bond that radiates whenever they perform. 
They are one of only two organ grinder and monkey teams left on the east coast 
and only one of three teams in the U.S. preserving this 140-year-old entertainment 
tradition. New England's only live performing monkey act has been featured on 
many television programs, including Late Night with David Letterman, Saturday Night 
Live, Chronicle, and NBC's Today Show. Tony and Coco were featured in the television 
movie The Kennedys and the Fitzgeralds and have received the prestigious comedic 
honor of a lifetime membership to the Harvard Lampoon. Topping their list of 
impressive appearances, however, is performing at the BSO's 4th of July Celebra- 
tion at Tanglewood for 25 consecutive years. 



Got Stress? • Feeling Tension? • Want to be more relaxed? 

Come enjoy a Chair Massage! Our experienced and skilled massage therapists 

will use hands-on acupressure and Swedish-style massage techniques to release 

your aches and pains while you are comfortably seated in a specially designed 

massage chair. You will feel your tension melt away, stress vanish, and be 

renewed and recharged. 

Back To Life! 15 minutes $20* • Back To Bliss! 25 minutes $35 

""Children 14 and under may split a 15-minute session. 

20% of the proceeds will benefit the Tanglewood Music Center. 

Look for us inside the main entrance to the right. 

Back To Life!, Chair Massage Practitioners helps people feel better at work 

and at play, serving the public in the workplace and at leading cultural 

and special events throughout New England. 

Online at btlchairmassage@aol.com and at www.backtolifechairmassage.com in Aug '07. 

Cambridge, MA • 617-354-3926 



L 




Tangle wood 









■ 



■ 



. .. 






m i 



BOSTON 

SYMPHONY 
ORCHESTRA 



JAMES LEVINE 
MUSIC DIRECTOR 







summer 2007 



INSURANCE 



INVESTMENTS 



RETIREMENT 



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RESORT 



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HISTORIC HOTELS 



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S PERFORMING LIVE AT CRANWELL THIS SUMMER 
OPEN TO THE PUBLIC YEAR-ROUND. 



RT. 20 LENOX MA 800.272.693 



WWW.CRANWELL.COM/TWD 



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HOLSTEN GALLERIES 

CONTEMPORARY GLASS SCULPTURE 

Elm Street, Stockbridge MA 



www. holstengalleries.co.r 



413.298.3044 



lAacchia with Red and Yellow Lip Wrap 



Photo: Teresa Rishel 




James Levine, Music Director 
Bernard Haitink, Conductor Emeritus 
Seiji Ozawa, Music Director Laureate 
126th Season, 2006-2007 



it 



g^~^ 



Trustees of the Boston Symphony Orchestra, Inc. 

Edward H. Linde, Chairman 

John F Cogan, Jr., Vice-Chairman Robert P. O'Block, Vice-Chairman 

Diddy Cullinane, Vice-Chairman Roger T. Servison, Vice-Chairman 

Edmund Kelly, Vice-Chairman Vincent M. O'Reilly, Treasurer 



George D. Behrakis 
Gabriella Beranek 
Mark G. Borden 
Alan Bressler 
Jan Brett 

Samuel B. Bruskin 
Paul Buttenwieser 
Eric D. Collins 

Life Trustees 

Harlan E. Anderson 
Vernon R. Alden 
David B. Arnold, Jr. 
J.P. Barger 
Leo L. Beranek 
Deborah Davis Berman 
Peter A. Brooke 
Helene R. Cahners 



Cynthia Curme 
William R. Elfers 
Nancy J. Fitzpatrick 
Charles K. Gifford 
Thelma E. Goldberg 
Stephen Kay 
George Krupp 
Shari Loessberg, ex-officio 



James F Cleary 
Abram T. Collier 
Mrs. Edith L. Dabney 
Nelson J. Darling, Jr. 
Nina L. Doggett 
Mrs. John H. Fitzpatrick 
Dean W. Freed 



Robert J. Mayer, M.D. 
Nathan R. Miller 
Richard P. Morse 
Ann M. Philbin, 

ex-officio 
Carol Reich 
Edward I. Rudman 
Hannah H. Schneider 



Avram J. Goldberg 
Edna S. Kalman 
George H. Kidder 
R. Willis Leith, Jr. 
Mrs. August R. Meyer 
Mrs. Robert B. Newman 
William J. Poorvu 



Arthur I. Segel 
Thomas G. Sternberg 
Wilmer J. Thomas, Jr. 
Stephen R. Weber 
Stephen R. Weiner 
Robert C. Winters 



Irving W. Rabb 
Peter C. Read 
Richard A. Smith 
Ray Stata 

John Hoyt Stookey 
John L. Thorndike 
Dr. Nicholas T Zervas 



Other Officers of the Corporation 

Mark Volpe, Managing Director 
Suzanne Page, Clerk of the Board 

Board of Overseers of the Boston Symphony Orchestra, Inc. 

Shari Loessberg, Chairman 

William F Achtmeyer Pamela D. Everhart 



Thomas D. May, Chief Financial Officer 



Diane M.Austin 
Lucille M. Batal 
Maureen Scannell 

Bateman 
Linda J.L. Becker 
George W. Berry 
James L. Bildner 
Bradley Bloom 
Anne F Brooke 
Gregory E. Bulger 
William Burgin 
Ronald G. Casty 
Rena F Clark 
Carol Feinberg Cohen 
Mrs. James C. Collias 
Charles L. Cooney 
Ranny Cooper 
James C. Curvey 
Tamara P. Davis 
Mrs. Miguel de 

Braganca 
Disque Deane 
Paul F Deninger 
Ronald M. Druker 
Alan J. Dworsky 
Alan Dynner 
Ursula Ehret-Dichter 
John P. Eustis II 



Joseph F. Fallon 
Thomas E. Faust, Jr. 
Judith Moss Feingold 
Steven S. Fischman 
John F Fish 
Lawrence K. Fish 
Myrna H. Freedman 
Carol Fulp 
Dr. Arthur Gelb 
Stephanie Gertz 
Robert P. Gittens 
Michael Gordon 
Paula Groves 
Michael Halperson 
Carol Henderson 
Brent L. Henry 
Susan Hockfield 
Osbert M. Hood 
Roger Hunt 
William W. Hunt 
Ernest Jacquet 
Everett L. Jassy 
Charles H. Jenkins, Jr. 
Darlene Luccio 

Jordan, Esq. 
Paul L. Joskow 
Stephen R. Karp 
Brian Keane 



Douglas A. Kingsley 

Robert Kleinberg 

Farla H. Krentzman 

Peter E. Lacaillade 

Renee Landers 

Robert J. Lepofsky 

Christopher J. Lindop 

John M. Loder 

Edwin N. London 

Jay Marks 

Jeffrey E. Marshall 

Carmine Martignetti 

Joseph B. Martin, M.D. 

Thomas McCann 

Joseph C. McNay 

Albert Merck 

Dr. Martin C. Mihm, Jr. 

Robert Mnookin 

Paul M. Montrone 

Robert J. Morrissey 

Evelyn Stefansson Nef 

Robert T O'Connell 

Susan W. Paine 

Joseph Patton 

Ann M. Philbin 

May H. Pierce 

Claudio Pincus 

Joyce L. Plotkin 

Dr. John Thomas Potts, Jr. 



Dr. Tina Young Poussaint 
James D. Price 
Claire Pryor 
Patrick J. Purcell 
John Reed 
Donna M. Riccardi 
Susan Rothenberg 
Alan Rottenberg 
Joseph D. Roxe 
Kenan Sahin 
Ross E. Sherbrooke 
Gilda Slifka 
Christopher Smallhorn 
John C. Smith 
Charles A. Stakely 
Patricia L. Tambone 
Samuel Thome 
Albert Togut 

Diana Osgood Tottenham 
Joseph M. Tucci 
Paul M. Verrochi 
Robert S. Weil 
David C. Weinstein 
James Westra 
Mrs. Joan D. Wheeler 
Richard Wurtman, M.D. 
Dr. Michael Zinner 
D. Brooks Zug 



<••■■■,:.■■ 
■■■■■- I • ■'••'•- 



Overseers Emeriti 

Helaine B. Allen 
Marjorie Arons-Barron 
Caroline Dwight Bain 
Sandra Bakalar 
Mrs. Levin H. 

Campbell 
Earle M. Chiles 
Joan P. Curhan 
Phyllis Curtin 
Betsy P. Demirjian 
JoAnne Walton 

Dickinson 
Phyllis Dohanian 
Goetz B. Eaton 
Harriett Eckstein 
George Elvin 
J. Richard Fennell 



Peter H.B. Frelinghuysen 
Mrs. Thomas 

Galligan, Jr. 
Mrs. James Garivaltis 
Jordan Golding 
Mark R. Goldweitz 
John Hamill 
Deborah M. Hauser 
Mrs. Richard D. Hill 
Marilyn Brachman 

Hoffman 
Lola Jaffe 
Michael Joyce 
Martin S. Kaplan 
Mrs. S. Charles Kasdon 
Mrs. Gordon F. Kingsley 



David I. Kosowsky 
Robert K. Kraft 
Benjamin H. Lacy 
Mrs. William D. Larkin 
Hart D. Leavitt 
Frederick H. Lovejoy, Jr. 
Diane H. Lupean 
Mrs. Charles P. Lyman 
Mrs. Harry L. Marks 
Barbara Maze 
John A. Perkins 
Daphne Brooks Prout 
Robert E. Remis 
Mrs. Peter van S. Rice 
John Ex Rodgers 
Mrs. Jerome Rosenfeld 



Roger A. Saunders 
Lynda Anne Schubert 
Mrs. Carl Shapiro 
L. Scott Singleton 
Mrs. Micho Spring 
Patricia Hansen 

Strang 
Robert A. Wells 
Mrs. Thomas H. P. 

Whitney 
Margaret Williams- 

DeCelles 
Mrs. Donald B. 

Wilson 
Mrs. John J. Wilson 



Officers of the Boston Symphony Association of Volunteers 



Ann M. Philbin, President 
Richard Dixon, Executive 

Vice-President/Administration 
Howard Cutler, Executive 

Vice-President/Fundraising 



William S. B alien, Executive 
Vice-President/Tanglewood 
Sybil Williams, Secretary 
Gerald Dreher, Treasurer 
Leah Weisse, Nominating Chair 




Programs copyright ©2007 Boston Symphony Orchestra, Inc. 

Cover design by Sametz Blackstone Associates 

Cover photos by Stu Rosner 




Administration 

Mark Volpe, Managing Director 
Eunice and Julian Cohen Managing Directorship, fully funded in perpetuity 



Anthony Fogg, Artistic Administrator 
Marion Gardner-Saxe, Director of Human Resources 
Ellen Highstein, Director of 'Tanglewood Music Center 
Tanglewood Music Center Directorship, 
endowed in honor of Edward H. Linde 
by Alan S. Bressler and Edward I. Rudman 
Bernadette M. Horgan, Director of Media Relations 
Thomas D. May, Chief Financial Officer 



Peter Minichiello, Director of Development 
Kim Noltemy, Director of Sales, Marketing, 

and Communications 
Caroline Taylor, Senior Advisor to the 

Managing Director 
Ray F. Wellbaum, Orchestra Manager 



ADMINISTRATIVE STAFF/ ARTISTIC 

Bridget P. Carr, Senior Archivist-Position endowed by Caroline Dwight Bain • Vincenzo Natale, Chauffeur/ 
Valet • Suzanne Page, Assistant to the Managing Director/Manager of Board Administration • Benjamin 
Schwartz, Assistant to the Artistic Administrator 

ADMINISTRATIVE STAFF/ PRODUCTION 

Christopher W. Ruigomez, Director of Concert Operations 

Meryl Atlas, Assistant Chorus Manager • Amy Boyd, Orchestra Personnel Administrator • Felicia A. Burrey, 
Chorus Manager • H.R. Costa, Technical Supervisor • Keith Elder, Production and Touring Manager • 
Jake Moerschel, Assistant Stage Manager • Leah Monder, Operations Manager • John Morin, Stage Technician • 
Mark C. Rawson, Stage Technician • Leslie D. Scott, Concert Operations Coordinator 

BOSTON POPS 

Dennis Alves, Director of Artistic Planning 

Sheri Goldstein, Personal Assistant to the Conductor • Margo Saulnier, Assistant Director of 'Artistic Planning 

BUSINESS OFFICE 

Sarah J. Harrington, Director of Planning and Budgeting 

Joseph Senna, Director of Investments 

Pam Wells, Controller 

Michelle Green, Executive Assistant to the Chief Financial Officer • Karen Guy, Accounts Payable Supervisor • 

Minnie Kwon, Payroll Assistant • John O'Callaghan, Payroll Supervisor • Mary Park, Budget Analyst • 

Harriet Prout, Accounting Manager • Theany Uy, Staff Accountant • Teresa Wang, Staff Accountant • 

Audrey Wood, Senior Investment Accountant 

DEVELOPMENT 

Alexandra Fuchs, Director of Annual Funds ♦ Nina Jung, Director of Development Events and Volunteer Outreach ♦ 
Bart Reidy, Director of Development Communications ♦ Mia Schultz, Director of Development Administration 

Stephanie Baker, Major and Planned Giving Coordinator • Cullen Bouvier, Executive Assistant to the Director of 
Development • Diane Cataudella, Associate Director of Stewardship for Donor Relations • Kerri Cleghom, Associ- 
ate Director, BSO Business Partners • Marcy Bouley Eckel, Annual Funds Membership Manager • Joseph Gaken, 
Associate Director of Stewardship for Donor Recognition • Kara Gavagan, Development Special Events Coordinator • 
Emily Gonzalez, Donor Information and Data Coordinator • Laura Hahn, Annual Fund Projects Coordinator • 
Barbara Hanson, Manager, Koussevitzky Society • Emily Horsford, Assistant Manager of Friends Membership • 
Andrea KatZ, Coordinator of Special Events • Nicole Leonard, Manager of Planned Giving • Ryan Losey, 
Associate Director of Foundation and Government Relations • Pamela McCarthy, Manager of Prospect Research • 
Jennifer Raymond, Associate Director, Friends Membership • Sarah Razer, Gift Processing and Donor Records 
Assistant • Yong-Hee Silver, Manager, Higginson and Fiedler Societies • Kenny Smith, Acknowledgment and Gift 
Processing Coordinator • Mary E. Thomson, Associate Director of Development Corporate Events • Laura Wexler, 
Assistant Manager of Development Communications • Hadley Wright, Foundation and Government Grants 
Coordinator 

EDUCATION AND COMMUNITY PROGRAMS 

Myran Parker-Brass, Director of Education and Community Programs 

Claire Carr, Coordinator of Education and Community Programs • Gabriel Cobas, Manager of Education Programs • 

Darlene White, Manager, Berkshire Education and Community Programs 



EVENT SERVICES 

Cheryl Silvia Lopes, Director of Event Services 

Tony Bennett, Cafe Supervisor • Lesley Ann Cefalo, Event Services Business and Sales Manager • Sean Lewis, 

Assistant to the Director of Event Services • Cesar Lima, Steward • Shana Metzger, Special Events Sales Manager • 

Kyle Ronayne, Food and Beverage Manager • James Sorrentino, Bar Manager 

FACILITIES 

Mark Cataudella, Director of Facilities 

Tanglewood David P. Sturma, Director ofTanglewood Facilities and BSO Liaison to the Berkshires 

Ronald T. Brouker, Supervisor ofTanglewood Crew • Robert Lahart, Electrician • Peter Socha, Head Carpenter 

Tanglewood Facilities Staff Robert Casey • Steve Curley • Rich Drumm • Bruce Huber 

HUMAN RESOURCES 

Kathleen Sambuco, Benefits Manager ♦ Mary Pitino, Human Resources Manager 

Susan Olson, Human Resources Recruiter 

INFORMATION TECHNOLOGY 

David W. Woodall, Director of Information Technology 

Guy W. Brandenstein, User Support Specialist • Andrew Cordero, Manager of User Support • Timothy 

James, Applications Support Specialist • Brian Van Sickle, User Support Specialist 

PUBLIC RELATIONS 

Kathleen Drohan, Associate Director of Media Relations • Marni Glovinsky, Media Relations Coordinator • 
Joseph HeitZ, Senior Media Relations Associate • Whitney Riepe, Media Relations Associate 

PUBLICATIONS 

Marc Mandel, Director of Program Publications 

Robert Kirzinger, Publications Associate • Eleanor Hayes McGourty, Publications Coordinator/Boston Pops 

Program Editor 

SALES, SUBSCRIPTION, AND MARKETING 

Amy Aldrich, Manager, Subscription Office ♦ Helen N.H. Brady, Director of Group Sales ♦ Alyson Bristol, 
Director of Corporate Sponsorships ♦ Sid Guidicianne, Front of House Manager ♦ James Jackson, Call Center 
Manager ♦ Roberta Kennedy, Buyer for Symphony Hall and Tanglewood ♦ Sarah L. Manoog, Director of Marketing 
Programs ♦ Michael Miller, SymphonyCharge Manager 

Duane Beller, SymphonyCharge Representative • Gretchen Borzi, Marketing Production Manager • Rich Bradway, 
Associate Director of E-Commerce and New Media • Lenore Camassar, SymphonyCharge Assistant Manager • 
John Dorgan, Group Sales Coordinator • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • 
Erin Glennon, Graphic Designer • Julie Green, Subscription Representative • Susan Elisabeth Hopkins, Senior 
Graphic Designer • Aaron Kakos, Subscription Representative • Michele Lubowsky, Assistant Subscription Manager • 
Jason Lyon, Group Sales Manager • Dominic Margaglione, Senior Subscription Associate • Ronnie McKinley, 
Ticket Exchange Coordinator • Maria McNeil, SymphonyCharge Representative • Michael Moore, E-Commerce 
Marketing Analyst • MarcyKate Perkins, SymphonyCharge Representative • Clint Reeves, Graphic Designer • 
Doreen Reis, Marketing Coordinator for Advertising * Andrew Russell, Manager, Major Corporate Sponsor Relations • 
Robert Sistare, SymphonyCharge Representative • Megan E. Sullivan, Senior Subscription Associate 
Box Office Russell M. Hodsdon, Manager • David Winn, Assistant Manager 
Box Office Representatives Mary J. Broussard • Cary Eyges • Mark Linehan • Arthur Ryan 

TANGLEWOOD MUSIC CENTER 

Rachel Cipro tti, Coordinator • Karen Leopardi, Associate Director for Faculty and Guest Artists • Michael Nock, 
Associate Director for Student Affairs • Gary Wallen, Manager of Production and Scheduling 

TANGLEWOOD SUMMER MANAGEMENT STAFF 

Thomas Cinella, Business Office Manager • Peter Grimm, Seranak House Manager • David Harding, 
TMC Concerts Front of House Manager • Randie Harmon, Front of House Manager • Marcia Jones, Manager 
of Visitor Center 

VOLUNTEER OFFICE 

Nina Jung, Director of Development Events and Volunteer Outreach 

Kris Danna, Associate Director of ~ Volunteers • Sabine Chouljian, Assistant Manager for Volunteer Services 



TANGLEWOOD 



The Tanglewood Festival 

In August 1934 a group of music-loving summer residents of the Berkshires organized a 
series of three outdoor concerts at Interlaken, to be given by members of the New York 
Philharmonic under the direction of Henry Hadley The venture was so successful that the 
promoters incorporated the Berkshire Symphonic Festival and repeated the experiment during 
the next summer. 

The Festival Committee then invited Serge Koussevitzky and the Boston Symphony 
Orchestra to take part in the following year's concerts. The orchestra's Trustees accepted, 
and on August 13, 1936, the Boston Symphony Orchestra gave its first concerts in the 
Berkshires (at Holmwood, a former Vanderbilt estate, later the Center at Foxhollow). The 
series again consisted of three concerts and was given under a large tent, drawing a total of 
nearly 15,000 people. 

In the winter of 1936 Mrs. Gorham Brooks and Miss Mary Aspinwall Tappan offered 
Tanglewood, the Tappan family estate, with its buildings and 210 acres of lawns and mead- 
ows, as a gift to Koussevitzky and the orchestra. The offer was gratefully accepted, and on 
August 5, 1937, the festival's largest crowd to that time assembled under a tent for the first 
Tanglewood concert, an all-Beethoven program. 

At the all-Wagner concert that opened the 1937 festival's second weekend, rain and 
thunder twice interrupted the Rienzi Overture and necessitated the omission altogether of 
the "Forest Murmurs" from Siegfried, music too delicate to be heard through the downpour. 
At the intermission, Miss Gertrude Robinson Smith, one of the festival's founders, made an 
appeal to raise funds for the building of a permanent structure. The appeal was broadened 
by means of a printed circular handed out at the two remaining concerts, and within a short 
time enough money had been raised to begin active planning for a "music pavilion." 

Eliel Saarinen, the eminent architect selected by Koussevitzky, proposed an elaborate 
design that went far beyond the immediate needs of the festival and, more important, went 
well beyond the budget of $100,000. His second, simplified plans were still too expensive; he 
finally wrote that if the Trustees insisted on remaining within their budget, they would have 
"just a shed, ...which any builder could accomplish without the aid of an architect." The 
Trustees then turned to Stockbridge engineer Joseph Franz to make further simplifications 

in Saarinen's plans in 
order to lower the cost. 
The building he erected 
was inaugurated on the 
evening of August 4, 
1938, when the first 
concert of that year's 
festival was given, and 
remains, with modifica- 
tions, to this day. It has 
echoed with the music 
of the Boston Sym- 
phony Orchestra every 
After the storm of August 12, 1937, which precipitated a fundraising summer since, except 

drive for the construction of the Tanglewood Shed f or tne war vears 1942- 

45, and has become almost a place of pilgrimage to millions of concertgoers. In 1959, as the 
result of a collaboration between the acoustical consultant Bolt Beranek and Newman and 
architect Eero Saarinen and Associates, the installation of the then-unique Edmund Hawes 
Talbot Orchestra Canopy, along with other improvements, produced the Shed's present 




world-famous acoustics. In 1988, on the occasion of its fiftieth anniversary, the Shed was 
rededicated as "The Serge Koussevitzky Music Shed," recognizing the far-reaching vision of 
the BSO's legendary music director. 

In 1940, the Berkshire Music Center (now the Tanglewood Music Center) began its 
operations. By 1941 the Theatre-Concert Hall, the Chamber Music Hall, and several small 
studios were finished, and the festival had so expanded its activities and its reputation for ex- 
cellence that it attracted nearly 100,000 visitors. 

With the Boston Symphony Orchestra's acquisition in 1986 of the Highwood estate 
adjacent to Tanglewood, the stage was set for the expansion of Tanglewood's public grounds 
by some 40%. A master plan developed by the Cambridge firm of Carr, Lynch, Hack and 
Sandell to unite the Tanglewood and Highwood properties confirmed the feasibility of 
using the newly acquired property as the site for a new concert hall to replace the outmod- 
ed Theatre-Concert Hall (which was used continuously with only minor modifications 
since 1941, and which with some modification has been used in recent years for the Tangle- 
wood Music Center's opera productions), and for improved Tanglewood Music Center 
facilities. Inaugurated on July 7, 1994, Seiji Ozawa Hall — designed by the architectural firm 
William Rawn Associates of Boston in collaboration with acoustician R. Lawrence Kirke- 
gaard &c Associates of Downer's Grove, Illinois, and representing the first new concert facil- 
ity to be constructed at Tanglewood in more than a half-century — now provides a modern 
venue for TMC concerts, and for the varied recital and chamber music concerts offered by 
the Boston Symphony Orchestra throughout the summer. Ozawa Hall with its attendant 
buildings also serves as the focal point of the Tanglewood Music Center's Leonard Bernstein 
Campus, as described below. Also at Tanglewood each summer, the Boston University 
Tanglewood Institute sponsors a variety of programs that offer individual and ensemble 
instruction to talented younger students, mostly of high school age. 



A "Special Focus" Exhibit at the Tanglewood Visitor Center 
The Festival of Contemporary Music at Tanglewood: A Photographic Retrospective 

Since 1964, the Tanglewood Music Center has organ- 
ized an intensive five-day festival — the TMC's annual 
Festival of Contemporary Music (FCM) — dedicated 
to the work of both established and up-and-coming 
contemporary composers. This summer's "special focus" 
exhibit traces the origins of FCM in the mid-1950s 
through its formal establishment in 1964 (under the 
leadership of Erich Leinsdorf and Gunther Schuller 
in conjunction with the Fromm Music Foundation) 
and into the late 1980s. Drawing primarily on the 
BSO Archives' extensive collection of Tanglewood 
photographs, the exhibit documents the musicians and 
composers who have played an active role in the Festival's continued artistic success, including 
Theodore Antoniou, Elliott Carter, Aaron Copland, John Harbison, Oliver Knussen, Bruno 
Maderna, Gunther Schuller, and Charles Wuorinen, to name just a few. In the photo above, 
Paul Fromm, Aaron Copland, Lukas Foss, and Gunther Schuller discuss contemporary music 
activities at Tanglewood, c.1963. 

Preserving FCM in Sound: In the summer of 2006, the BSO Archives was awarded a grant 
from the Association for Recorded Sound Collection (ARSC) to preserve a collection of forty- 
nine FCM programs recorded on reel-to-reel tape between 1969 and 1981. At the completion 
of this project, performances of works by Milton Babbitt, Arthur Berger, Pierre Boulez, Elliott 
Carter, John Harbison, Olivier Messiaen, Gunther Schuller, and Charles Wuorinen, among 
others, will be available to researchers in the BSO Archives. 




Today Tanglewood annually draws more than 300,000 visitors. Besides the concerts of 
the Boston Symphony Orchestra, there are weekly chamber music concerts, Friday-evening 
Prelude Concerts, Saturday-morning Open Rehearsals, the annual Festival of Contempo- 
rary Music, and almost daily concerts by the gifted young musicians of the Tanglewood 
Music Center. The Boston Pops Orchestra appears annually, and the season closes with a 
weekend-long Jazz Festival. The season offers not only a vast quantity of music but also a 
vast range of musical forms and styles, all of it presented with a regard for artistic excellence 
that makes the festival unique. 

The Tanglewood Music Center 

Since its start as the Berkshire Music Center in 1940, the Tanglewood Music Center has 
become one of the world's most influential centers for advanced musical study. Serge Kous- 
sevitzky, the Boston Symphony Orchestra's music director from 1924 to 1949, founded the 
Center with the intention of creating a premier music academy where, with the resources of 
a great symphony orchestra at their disposal, young instrumentalists, vocalists, conductors, 
and composers would sharpen their skills under the tutelage of Boston Symphony Orchestra 
musicians and other specially invited artists. 

The Music Center opened formally on July 8, 1940, with speeches and music. "If ever 
there was a time to speak of music, it is now in the New World," said Koussevitzky, alluding 
to the war then raging in Europe. "So long as art and culture exist there is hope for humanity." 
Randall Thompson's Alleluia for unaccompanied chorus, specially written for the ceremony, 
arrived less than an hour before the event began but made such an impression that it con- 
tinues to be performed at the opening ceremonies each summer. The TMC was Kousse- 
vitzky 's pride and joy for the rest of his life. He assembled an extraordinary faculty in com- 
position, operatic and choral activities, and instrumental performance; he himself taught the 
most gifted conductors. 

Koussevitzky continued to develop the Tanglewood Music Center until 1950, a year 
after his retirement as the BSO's music director. Charles Munch, his successor in that posi- 
tion, ran the Tanglewood Music Center from 1951 through 1962, working with Leonard 
Bernstein and Aaron Copland to shape the school's programs. In 1963, new BSO Music 
Director Erich Leinsdorf took over the school's reins, returning to Koussevitzky 's hands-on 
leadership approach while restoring a renewed emphasis on contemporary music. In 1970, 
three years before his appointment as BSO music director, Seiji Ozawa became head of the 
BSO's programs at Tanglewood, with Gunther Schuller leading the TMC and Leonard 
Bernstein as general advisor. Leon Fleisher served as the TMC's Artistic Director from 1985 
to 1997. In 1994, with the opening of Seiji Ozawa Hall, the TMC centralized its activities 
on the Leonard Bernstein Campus, which also includes the Aaron Copland Library, cham- 
ber music studios, administrative offices, and the Leonard Bernstein Performers Pavilion 
adjacent to Ozawa Hall. Ellen Highstein was appointed Director of the Tanglewood Music 
Center in 1997. 

The 150 young performers and composers in the TMC's Fellowship Program — advanced 
musicians who generally have completed all or most of their formal training — participate in 
an intensive program including chamber and orchestral music, opera, and art song, with a 
strong emphasis on music of the twentieth and twenty-first centuries. All participants 
receive full fellowships that underwrite tuition, room, and board. TMC Orchestra highlights 
this summer include a concert performance in the Koussevitzky Music Shed of Verdi's Don 
Carlo conducted by James Levine with a guest cast of internationally renowned singers; a 
TMCO concert led by Stefan Asbury in Ozawa Hall, and Beethoven's Ninth Symphony 
led by Rafael Friihbeck de Burgos in the Shed — the latter representing Tanglewood's tradi- 
tional season-ending performance of that work. The season also includes a fully staged 





glewood 



GLASS HOUSE 



EXCITEMENT 

of Discovery 

Visit the Glass House and experience our 
newly-remodeled store, filled with apparel, 
recordings, and unique gifts for the home. 
Shop for yourself, or for someone special, 
and savor the spirit of Tanglewood. 



Main Gate: 

Monday -Thursday, ioam-4pm 
Friday 10am - 30 minutes post concert 
Saturday, 9am - 30 minutes post concert 
Sunday, noon - 6pm 



Highwood Gate: 

Performance Hours 




TMC production of Mozart's Cost fan tutt& conducted by James Levine (August 11-14 in 
the Theatre) and a third collaboration between the TMC Vocal Program and Keith Lockhart 
and the Boston Pops Orchestra — a concert performance of Rodgers &c Hammerstein's clas- 
sic musical Carousel (July 10 in the Shed). The TMC season opens with a residency by the 
Mark Morris Dance Group, culminating in two performances by the company (June 28 
and 29) of Mark Morris's choreography to Purcell's Dido and Aeneas, conducted by Stefan 
Asbury and featuring TMC singers and instrumentalists. All TMC Fellows participate in 
the TMC's ongoing chamber music programs in Ozawa Hall (Sunday mornings at 10 a.m., 
and on Saturdays at 6 p.m. prior to BSO concerts). The 2007 Festival of Contemporary 
Music — a five-day celebration of the music of our time — will be directed by John Harbison, 
and will focus on "The Generation of '38," highlighting the remarkable quality and diversity 
of music written by composers born in or near that year. The Fromm Concert at Tanglewood, 
the penultimate event of the Festival, will feature the Julius Hemphill Sextet and improvi- 
sations with Musica Elettronica Viva. The start of the TMC season again includes an 
intensive string quartet seminar; and a highlight of the Composition Program is the now 
regular collaboration with Shakespeare & Company on writing incidental music for the 
theater — this season a condensed version of Macbeth, featuring Tina Packer and actors 
from the company, on stage with TMC musicians in Ozawa Hall as part of Tanglewood on 
Parade on August 15. 

It would be impossible to list all of the distinguished musicians who have studied at the 
Tanglewood Music Center. According to recent estimates, 20% of the members of American 
symphony orchestras, and 30% of all first-chair players, studied at the TMC. Besides Seiji 
Ozawa, prominent alumni of the Tanglewood Music Center include Claudio Abbado, Luciano 
Berio, the late Leonard Bernstein, Stephanie Blythe, David Del Tredici, Christoph von 
Dohnanyi, the late Jacob Druckman, Lukas Foss, John Harbison, Gilbert Kalish (who head- 
ed the TMC faculty for many years), Oliver Knussen, Lorin Maazel, Wynton Marsalis, 
Zubin Mehta, Sherrill Milnes, Leontyne Price, Ned Rorem, Sanford Sylvan, Cheryl 
Studer, Michael Tilson Thomas, Dawn Upshaw, Shirley Verrett, and David Zinman. 

Today, alumni of the Tanglewood Music Center play a vital role in the musical life of the 
nation. Tanglewood and the Tanglewood Music Center, projects with which Serge Kousse- 
vitzky was involved until his death, have become a fitting shrine to his memory, a living 
embodiment of the vital, humanistic tradition that was his legacy. At the same time, the 
Tanglewood Music Center maintains its commitment to the future as one of the world's 
most important training grounds for the composers, conductors, instrumentalists, and vocal- 
ists of tomorrow. 




BSO Music Director James Levine, who works with the TMC Fellows in classes on orchestral 
repertoire, Lieder, and opera, shown here with TMC Vocal Fellows in a July 2005 session devoted 
to Mozart's 'Don Giovanni" 







TO: STOCKBRIDGE 



TO: LENOX 



HAWTHORNE 
ENTRANCE 

(reserved) 




| RESTROOMS 

RESTROOMS 

(ACCESSIBLE TO handicapped) 

D TELEPHONES 

PI FIRST AID 

FOOD & BEVERAGES 

VISITOR CENTER 

ATM 

TICKETS 

£g SMOKING PERMITTED 

(outside of entrance gates) 

NORTH 



\ 



TO: LENOX 

PITTSFIELD 
LEE 

MASS PIKE 
ROUTES 7 & 20 



HIGHWOODl 
(RESERi 











MAHKEENAC LOT 



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TO: GREAT BARRINGTON 
ROUTE 102 



Tanglewood 



LENOX, MA 










BOSTON SYMPHONY ASSOCIATION OF VOLUNTEERS 
TANGLEWOOD ADMINISTRATIVE COMMITTEE 2007 

Nina Jung, Director of Development Events and Volunteer Outreach 



President 

Ann Philbin 

Executive Vice-President 

Bill Ballen 

Immediate Past Executive 

Vice-President 

Ursula Ehret-Dichter 

Vice-President 

Margery Steinberg 

Secretary 

Wilma Michaels 

Nominating, Executive Chair 

Mel Blieberg 



COMMUNITY/ 

AUDIENCE SERVICES 

Gus Leibowitz, 

Executive Chair 

Education and Community 

Outreach 

Norma Ruffer 

Tour Guides 

Marita Renner 

Ron Winter 

Brochure Distribution 

Sharon Shepard-Ballen 

Ushers and Programmers 

Mary J. Papa 

Bob Rosenblatt 

Transportation Bus Greeters 

Roberta Cohn 

Susan Price 



DEVELOPMENT 

Howard Arkans, 
Executive Chair 

Annual Fund 

Mary Jane Handler 

Joseph Handler 

Friends Office 

Judy Benjamin 

Carol Kosakoff 

Seranak Gardens and Flowers 

Jack Adler 

Tent Club 

Carolyn Corby 

Helen Kimpel 



EDUCATION 

Midge Sandlin, 
Executive Chair 

Joys ofTanglewood 

(Berkshire Museum Series) 

Gabe Kosakoff 

Elena Winter 

Talks & Walks 

Ivan Kates 

Mary Ellen Tremblay 

Tanglewood for Kids 

Rita Blieberg 

Stephanie Gittleman 

Youth Activities 

Andrew Garcia 

Brian Rabuse 

Exhibition Docents 

Michael Geller 

Carole Siegel 



MEMBERSHIP 

Ken Singer, Executive Chair 

Membership Events 

Marsha Burniske 

Roz Mancher 

Database 

Ned Dana 

Newsletter 

Sylvia Stein 

Personnel 

Alexandra Warshaw 

Ready Team 

Jessica Mormann 

Retired Volunteers Club 

Judith Cook 



TMC 

Bob Gittleman, Executive 

Chair 

TMC Lunch Program 

Sue Arkans 

Transportation Coordinator 

Carol Maynard 

Opening Exercises 

Mary Blair 

Karen Methven 

Tanglewood on Parade Picnic 

Rosalie Beal 

Arline Breskin 




231 River Street, NojtLAdams, Mass. 01247 
41iP^®gp^SifWW.P0RCHE$.C0M 




For rates and 
information on 
advertising in the 
Boston Symphony, 
Boston Pops, 
and 

Tanglewood program books 
please contact: 

STEVE GANAK AD REPS 

(617) 542-6913, in Boston. 



IN CONSIDERATION OF OUR PERFORMING ARTISTS AND PATRONS 

PLEASE NOTE: TANGLEWOOD IS PLEASED TO OFFER A SMOKE-FREE 

ENVIRONMENT WE ASKTHATYOU REFRAIN FROM SMOKING 

ANYWHERE ON THE TANGLEWOOD GROUNDS. DESIGNATED 

SMOKING AREAS ARE MARKED OUTSIDE THE ENTRANCE GATES. 

Latecomers will be seated at the first convenient pause in the program. 

If you must leave early, kindly do so between works or at intermission. 

Please do not bring food or beverages into the Music Shed or Ozawa Hall. 

PLEASE NOTE THAT THE USE OF AUDIO OR VIDEO RECORDING EQUIPMENT 

DURING CONCERTS AND REHEARSALS IS PROHIBITED, AND THAT VIDEO 

CAMERAS MAY NOT BE CARRIED INTO THE MUSIC SHED OR OZAWA HALL 

DURING CONCERTS OR REHEARSALS. 

Cameras are welcome, but please do not take pictures during the performance as the noise and 
flash are disturbing to the performers and to other listeners. 

FOR THE SAFETY OF YOUR FELLOW PATRONS, PLEASE NOTE THAT COOKING, 

OPEN FLAMES, SPORTS ACTIVITIES, BIKES, SCOOTERS, SKATEBOARDS, AND 

TENTS OR OTHER STRUCTURES ARE PROHIBITED FROM THE TANGLEWOOD 

GROUNDS, AND THAT BALL PLAYING IS NOT PERMITTED ON THE SHED LAWN 

AT ANY TIME WHEN THE GROUNDS ARE OPEN FOR A SHED CONCERT. 

In consideration of the performers and those around you, please be sure that your cellular 

phones, pagers, and watch alarms are switched off during concerts. 

THANK YOU FOR YOUR COOPERATION. 



TANGLEWOOD INFORMATION 

PROGRAM INFORMATION for Tanglewood events is available at the Main Gate, Bernstein 
Gate, Highwood Gate, and Lion Gate, or by calling (413) 637-5165. For weekly pre-recorded 
program information, please call the Tanglewood Concert Line at (413) 637-1666. 

BOX OFFICE HOURS are from 10 a.m. until 6 p.m. Monday through Friday (extended through 
intermission on concert evenings); Saturday from 9 a.m. until intermission; and Sunday from 
10 a.m. until intermission. Payment may be made by cash, personal check, or major credit card. 
To charge tickets by phone using a major credit card, please call SYMPHONYCHARGE 
at 1-888-266-1200, or in Boston at (617) 266-1200. Tickets can also be ordered online at 
www.tanglewood.org. Please note that there is a service charge for all tickets purchased by phone 
or on the web. 

TANGLEWOOD's WEB SITE at www.tanglewood.org provides information on all Boston Sym- 
phony and Boston Pops activities at Symphony Hall and at Tanglewood, and is updated regularly. 

FOR PATRONS WITH DISABILITIES, parking facilities are located at the Main Gate and 
at Ozawa Hall. Wheelchair service is available at the Main Gate and at the reserved-parking lots. 
Accessible restrooms, pay phones, and water fountains are located throughout the Tanglewood 
grounds. Assistive listening devices are available in both the Koussevitzky Music Shed and Seiji 
Ozawa Hall; please speak to an usher. For more information, call VOICE (413) 637-5165. To pur- 
chase tickets, call VOICE 1-888-266-1200 or TDD/TTY (617) 638-9289. For information about 
disability services, please call (617) 638-9431. 

IN CASE OF SEVERE LIGHTNING, visitors to Tanglewood are advised to take the usual pre- 
cautions: avoid open or flooded areas; do not stand underneath a tall isolated tree or utility pole; 
and avoid contact with metal equipment or wire fences. Lawn patrons are advised that your auto- 
mobile will provide the safest possible shelter during a severe lightning storm. Readmission passes 
will be provided. 

FOOD AND BEVERAGES can be obtained at the Tanglewood Cafe and at other locations as 
noted on the map. The Tanglewood Cafe is open Monday through Friday from 11:30 a.m. to 2:30 
p.m., Saturdays from 9 a.m. to 2:30 p.m., Sundays from noon until 7:30 p.m., and through the in- 
termission of all Tanglewood concerts. Visitors are invited to picnic before concerts. Meals to go 
may be ordered several days in advance at www.tanglewood.org or by phone at (413) 637-5240. 




IHB.DINB^RBCLINB 




FOR RESERVATIONS CALL: 413.298,5545 

www.redlioninn.com. stockbridge, mass, since 1773 




•^ 



Red Lion i^ 





LAWN TICKETS: Undated lawn tickets for" both regular Tanglewood concerts and specially 
priced events may be purchased in advance at the Tanglewood box office. Regular lawn tickets for 
the Music Shed and Ozawa Hall are not valid for specially priced events. Lawn Pass Books, 
available at the Main Gate box office, offer eleven tickets for the price often. LAWN TICKETS 
FOR ALL BSO AND POPS CONCERTS IN THE SHED MAY BE UPGRADED AT THE 
BOX OFFICE, subject to availability, for the difference in the price paid for the original lawn 
ticket and the price of the seat inside the Shed. 

SPECIAL LAWN POLICY FOR CHILDREN: On the day of the concert, children under 
the age of twelve will be given special lawn tickets to attend Tanglewood concerts FREE OF 
CHARGE. Up to four free children's lawn tickets are offered per parent or guardian for each con- 
cert, but please note that children under five must be seated on the rear half of the lawn. Please 
note, too, that children under five are not permitted in the Koussevitzky Music Shed or in Seiji 
Ozawa Hall during concerts or Open Rehearsals, and that this policy does not apply to organized 
children's groups (15 or more), which should contact Group Sales at Symphony Hall in Boston, 
(617) 638-9345, for special rates. KIDS' CORNER, where children accompanied by adults may 
take part in musical and arts and crafts activities supervised by BSO staff, is available during the 
Saturday-morning Open Rehearsals and beginning at 12 noon before Sunday-afternoon concerts. 
Further information about Kids' Corner is available at the Visitor Center. 

OPEN REHEARSALS by the Boston Symphony Orchestra are held each Saturday morning 
at 10:30, for the benefit of the orchestra's Pension Fund. Tickets are $17 and available at the 
Tanglewood box office. A half-hour pre-rehearsal talk about the program is offered free of charge 
to ticket holders, beginning at 9:30 in the Shed. 

STUDENT LAWN DISCOUNT: Students twelve and older with a valid student ID receive 
a 50% discount on lawn tickets for Friday-night BSO concerts. Tickets are available only at the 
Main Gate box office, and only on the night of the performance. 

FOR THE SAFETY AND CONVENIENCE OF OUR PATRONS, PEDESTRIAN WALK- 
WAYS are located in the area of the Main Gate and many of the parking areas. 

THE LOST AND FOUND is in the Visitor Center in the Tanglewood Manor House. Visitors 
who find stray property may hand it to any Tanglewood official. 

FIRST AID STATIONS are located near the Main Gate and the Bernstein Campus Gate. 

PHYSICIANS EXPECTING CALLS are asked to leave their names and seat numbers with the 
guide at the Main Gate (Bernstein Gate for Ozawa Hall events). 

THE TANGLEWOOD TENT near the Koussevitzky Music Shed offers bar service and picnic 
space to Tent Members on concert days. Tent Membership is a benefit available to donors through 
the Tanglewood Friends Office. 

THE GLASS HOUSE GIFT SHOPS adjacent to the Main Gate and the Highwood Gate sell 
adult and children's leisure clothing, accessories, posters, stationery, and gifts. Please note that the 
Glass House is closed during performances. Proceeds help sustain the Boston Symphony concerts 
at Tanglewood as well as the Tanglewood Music Center. 



Tanglewood Visitor Center 

The Tanglewood Visitor Center is located on the first floor of the Manor House at the rear 
of the lawn across from the Koussevitzky Music Shed. Staffed by volunteers, the Visitor 
Center provides information on all aspects of Tanglewood, as well as information about 
other Berkshire attractions. The Visitor Center also includes an historical exhibit on Tangle- 
wood and the Tanglewood Music Center, as well as the early history of the estate. 

You are cordially invited to visit the Center on the first floor of the Tanglewood Manor 
House. During July and August, daytime hours are from 10 a.m. to 4 p.m. Monday through 
Friday, from 9 a.m. to 4 p.m. on Saturday, and from noon until twenty minutes after the con- 
cert on Sunday, with additional hours Friday and Saturday evenings from 5:30 p.m. until 
twenty minutes after the concerts on these evenings, as well as during concert intermissions. 
In June and September the Visitor Center is open only on Saturdays and Sundays, from 10 
a.m. to 4 p.m. There is no admission charge. 




JAMES LEVTNE 

James Levine became Music Director of the Boston Sym- 
phony Orchestra in the fall of 2004. He is the orchestra's 
fourteenth music director since the BSO's founding in 1881 
and the first American-born conductor to hold that position. 
Highlights of Mr. Levine's 2007 Tanglewood season with 
the BSO include an Opening Night program of Mendelssohn 
and Tchaikovsky; Mahler's Symphony No. 3; a concert pair- 
ing Bartok's Bluebeard's Castle with Brahms's First Symphony; 
and Berlioz's La Damnation de Faust, as well as works by 
Beethoven, Carter, Harbison, Mozart, Ives, and Ravel. He 
i also leads a concert performance with the Tanglewood 
Music Center Orchestra of Verdi's Don Carlo and a staged 
TMC production of Mozart's Cost fan tutte, and continues 
to work with the TMC's Conducting and Vocal Fellows 
in classes devoted to orchestral repertoire, Lieder, and opera. In late August/early September, 
he and the BSO make their first European tour together, to include the Lucerne Festival, the 
Schleswig-Holstein Festival (in Hamburg), Essen, Diisseldorf, the Berlin Festival, Paris, and the 
BBC Proms in London. Highlights of Maestro Levine's 2007-08 BSO season will include an 
Opening Night all-Ravel program; premieres of new works by Elliott Carter, John Harbison, 
William Bolcom, and Henri Dutilleux; Mahler's First and Ninth symphonies and Das Lied von 
der Erde; Smetana's complete Ma Vlast, the two Brahms piano concertos with soloist Evgeny 
Kissin; season-ending concert performances of Berlioz's Les Troyens, and (with Mr. Levine as 
pianist) Schubert's Winterreise with Thomas Quasthoff. Highlights of his 2006-07 BSO pro- 
grams included an American-themed Opening Night concert; the conclusion of his two-season 
Beethoven/Schoenberg project with the orchestra; Bartok's Bluebeards Castle, Mahler's Third 
Symphony, and Berlioz's La Damnation de Faust, and a BSO 125th-anniversary commission 
from Charles Wuorinen. Maestro Levine made his BSO debut in April 1972; he has since led 
the orchestra in repertoire ranging from Haydn, Mozart, Schumann, Brahms, Dvorak, Verdi, 
Mahler, and Debussy to music of Babbitt, Cage, Carter, Gershwin, Harbison, Lieberson, Ligeti, 
Perle, Schuller, Sessions, and Wuorinen. 

James Levine is also Music Director of the Metropolitan Opera, where, in the thirty- five 
years since his debut there, he has developed a relationship with that company unparalleled in 
its history and unique in the musical world today. All told at the Met he has led more than 
2,000 performances of 80 different operas. In 2006-07 Maestro Levine led new Met produc- 
tions of Puccini's Madama Butterfly, Puccini's 2/ trittico, and Gluck's Orfeo ed Euridice; revivals 
of Mozart's Idomeneo and Die Zauberflote, Verdi's Don Carlo, and Wagner's Die Meistersinger 
von Nurnberg, and three concerts each at Carnegie Hall with the MET Orchestra and MET 
Chamber Ensemble. Mr. Levine inaugurated the "Metropolitan Opera Presents" television 
series for PBS in 1977, founded its Young Artist Development Program in 1980, returned 
Wagner's complete Der Ring des Nibelungen to the repertoire in 1989 (in the Met's first integral 
cycles in 50 years), and reinstated recitals and concerts with Met artists at the opera house — a 
former Metropolitan tradition. Expanding on that tradition, he and the MET Orchestra began 
touring in concert in 1991, and have since performed around the world. 

Outside the United States, Mr. Levine's activities are characterized by his intensive and endur- 
ing relationships with Europe's most distinguished musical organizations, especially the Berlin 
Philharmonic, the Vienna Philharmonic, and the summer festivals in Salzburg (1975-1993) and 
Bayreuth (1982-98). He was music director of the UBS Verbier Festival Orchestra from its 
founding in 2000 and, before coming to Boston, was chief conductor of the Munich Philhar- 
monic from 1999 to 2004. In the United States he led the Chicago Symphony Orchestra for 
twenty summers as music director of the Ravinia Festival (1973-1993) and, concurrendy, was 
music director of the Cincinnati May Festival (1973-1978). Besides his many recordings with 



the Metropolitan Opera and the MET Orchestra, he has amassed a substantial discography with 
such leading ensembles as the Berlin Philharmonic, Chicago Symphony, London Symphony, 
Philharmonia Orchestra, Munich Philharmonic, Dresden Staatskapelle, Philadelphia Orchestra, 
and Vienna Philharmonic. Over the last thirty years he has made more than 200 recordings of 
works ranging from Bach to Babbitt. Maestro Levine is also active as a pianist, performing 
chamber music and in collaboration with many of the world's great singers. 

Born in Cincinnati, Ohio, on June 23, 1943, James Levine studied piano from age four and 
made his debut with the Cincinnati Symphony at ten, as soloist in Mendelssohn's D minor piano 
concerto. He was a participant at the Marlboro Festival in 1956 (including piano study with Ru- 
dolf Serkin) and at the Aspen Music Festival and School (where he would later teach and con- 
duct) from 1957. In 1961 he entered the Juilliard School, where he studied conducting with Jean 
Morel and piano with Rosina Lhevinne (continuing on his work with her at Aspen). In 1964 
he took part in the Ford Foundation-sponsored "American Conductors Project" with the Balti- 
more Symphony Orchestra and Alfred Wallenstein, Max Rudolf, and Fausto Cleva. As a direct 
result of his work there, he was invited by George Szell, who was on the jury, to become an 
assistant conductor (1964-1970) at the Cleveland Orchestra — at twenty-one, the youngest assis- 
tant conductor in that orchestra's history. During his Cleveland years, he also founded and was 
music director of the University Circle Orchestra at the Cleveland Institute of Music (1966-72). 

James Levine was the first recipient (in 1980) of the annual Manhattan Cultural Award and 
in 1986 was presented with the Smetana Medal by the Czechoslovak government, following 
performances of the composer's Ma Vlast in Vienna. He was the subject of a Time cover story 
in 1983, was named "Musician of the Year" by Musical America in 1984, and has been featured 
in a documentary in PBS's "American Masters" series. He holds numerous honorary doctorates 
and other international awards. In recent years Mr. Levine has received the Award for Distin- 
guished Achievement in the Arts from New York's Third Street Music School Settlement; the 
Gold Medal for Service to Humanity from the National Institute of Social Sciences; the Lotus 
Award ("for inspiration to young musicians") from Young Concert Artists; the Anton Seidl 
Award from the Wagner Society of New York; the Wilhelm Furtwangler Prize from Baden- 
Baden's Committee for Cultural Advancement; the George Jellinek Award from WQXR in 
New York; the Goldenes Ehrenzeichen from the cities of Vienna and Salzburg; the Crystal 
Award from the World Economic Forum in Davos, Switzerland; America's National Medal of 
Arts and Kennedy Center Honors, and the 2005 Award for Distinguished Service to the Arts 
from the American Academy of Arts and Letters. 



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TANGLEWOOD 

2007 

James Levine 

Music Director 

Ray and Maria Stata 

Music Directorship, 

fully funded in perpetuity 

Bernard Haitink 

Conductor Emeritus 

LaCroix Family Fund, 

fully funded in perpetuity 

Seiji Ozawa 

Music Director Laureate 

First Violins 

Malcolm Lowe 

Concertmaster 

Charles Munch chair, 
fully funded in perpetuity 
Tamara Smirnova 

Associate Concertmaster 

Helen Horner Mclntyre chair, 

endowed in perpetuity in 1976 
Alexander Velinzon 

Assistant Concertmaster 

Robert L. Beal, Enid L., and Bruce 

A. Beal chair, endowed in perpetuity 

in 1980 
Elita Kang 

Assistant Concertmaster 

Edward and Bertha C Rose chair 
Bo Youp Hwang 

John and Dorothy Wilson chair,' 

fully funded in perpetuity 
Lucia Lint 

Forrest Foster Collier chair 
Ikuko Mizuno 

Dorothy Q. and David B. Arnold, 

Jr., chair, fully funded in 

perpetuity 
Amnon Levy 

Muriel C Kasdon and 

Marjorie C Paley chair 
*Nancy Bracken 

Ruth and Carl J. Shapiro chair, fully 

funded in perpetuity 



* Participating in a system 

of rotated seating 

On leave 
X On sabbatical leave 
^Substitute player 



*Aza Raykhtsaum 

Theodore W and Evelyn Berenson 
Family chair 

* Bonnie Bewick 

Stephanie Morris Marry ott and 
Franklin J. Marryott chair 

*James Cooke 

Catherine and Paul Buttenwieser 
chair 

* Victor Romanul 

Bessie Pappas chair 

* Catherine French 

Mary B. Saltonstall chair, 
fully funded in perpetuity 

*Kelly Barr 

Kristin and Roger Servison chair 

*Polina Sedukh 

Donald C and Ruth Brooks Heath 
chair, fully funded in 
perpetuity 

*Jason Horowitz 

Second Violins 

Haldan Martinson 

Principal 

Carl Schoenhof Family chair, 
fully funded in perpetuity 
Vyacheslav Uritsky 

Assistant Principal 

Charlotte and Irving W. Rabb 

chair, endowed in perpetuity 

in 1977 
Ronald Knudsen 

Edgar and Shirley Grossman chair 
Joseph McGauley 

Shirley and J. Richard Fennell chair, 

fully funded in perpetuity 
Ronan Lefkowitz 

David H. and Edith C Howie 

chair, fully funded in perpetuity 

* Sheila Fiekowsky 
*Jennie Shames 
*Valeria Vilker Kuchment 
*Tatiana Dimitriades 
*Si-Jing Huang 

* Nicole Monahan 
*Wendy Putnam 
*Xin Ding 
*Glen Cherry 
*Julianne Lee 

Violas 

Steven Ansell 

Principal 

Charles S. Dana chair, 

endowed in perpetuity in 1970 
Cathy Basrak 

Assistant Principal 

Anne Stoneman chair, 

fully funded in perpetuity 
Edward Gazouleas 

Lois and Harlan Anderson chair, 

fully funded in perpetuity 



Robert Barnes 
Ronald Wilkison 
Michael Zaretsky 
Marc Jeanneret 
*Mark Ludwig 

* Rachel Fagerburg 
*Kazuko Matsusaka 

* Rebecca Gitter 
*Marvin Moon 

Cellos 

Jules Eskin 

Principal 

Philip R. Allen chair, endowed 

in perpetuity in 1969 
Martha Babcock 

Assistant Principal 

Vernon and Marion Alden chair, 

endowed in perpetuity 

in 1977 
Sato Knudsen 

Mischa Nieland chair, 

fully funded in perpetuity 
Mihail Jojatu 

Sandra and David Bakalar chair 
Luis Leguia 

Robert Bradford Newman chair, 

fully funded in perpetuity 
*Jerome Patterson 

Lillian and Nathan R. Miller chair 

*Jonathan Miller 

Charles and JoAnne Dickinson chair 

*Owen Young 

John F Cogan,Jr., and Mary L. 
Cornille chair, fully funded in perpe- 
tuity 

*Andrew Pearce 

Stephen and Dorothy Weber chair 

* Mickey Katz 

Richard C. and Ellen E. Paine 
chair, fully funded in perpetuity 



Gordon and Mary Ford Kingsley 
Family chair 

Basses 

Edwin Barker 

Principal 

Harold D. Hodgkinson chair, 

endowed in perpetuity in 1974 

Lawrence Wolfe 
Assistant Principal 
Maria Nistazos Stata chair, 
fully funded in perpetuity 

Joseph Hearnei 1 
Leith Family chair, 
fully funded in perpetuity 

Dennis Roy 
Joseph and Jan Brett Hearne chair 

John Salkowski 
Erich and Edith Hey mans chair 

* James Orleans 



*Todd Seeber 

Eleanor L. and Levin H. Campbell 
chair, fully funded 
in perpetuity 

*John Stovall 

* Benjamin Levy 

Flutes 

Elizabeth Rowe 

Principal 

Walter Piston chair, endowed 
in perpetuity in 1970 
§ Linda Toote 

Myra and Robert Kraft chair, 
endowed in perpetuity in 1981 
Elizabeth Ostling 
Associate Principal 
Marian Gray Lewis chair, 
fully funded in perpetuity 

Piccolo 

Cynthia Meyers 
Evelyn and C. Charles Marran 
chair, endowed in perpetuity in 
1979 

Oboes 

John Ferrillo 

Principal 

Mildred B. Remis chair, endowed in 

perpetuity in 1975 
Mark McEwen 

James and Tina Collias chair 
Keisuke Wakao 

Assistant Principal 

English Horn 

Robert Sheena 

Beranek chair, fully funded 
in perpetuity 

Clarinets 

William R. Hudgins 
Principal 

Ann S.M. Banks chair, endowed 
in perpetuity in 1977 



Thomas Sternberg chair 
Thomas Martin 
Associate Principal & 
E-flat clarinet 

Stanton W. and Elisabeth K. Davis 
chair, fully funded in 
perpetuity 

Bass Clarinet 

Craig Nordstrom 
Farla and Harvey Chet Krentzman 
chair, fully funded 
in perpetuity 



Bassoons 

Richard Svoboda 

Principal 

Edward A. Taft chair, endowed 

in perpetuity in 1974 
Suzanne Nelsen 

John D. and Vera M. 

MacDonald chair 
Richard Ranti 

Associate Principal 

Diana Osgood Tottenham/ 

Hamilton Osgood chair, 

fully funded in perpetuity 

Contrabassoon 

Gregg Henegar 
Helen Rand Thayer chair 

Horns 

James Sommerville 

Principal 

Helen Sagojf Slosberg/Edna 
S. Kalman chair, endowed 
in perpetuity in 1974 
Richard Sebring 
Associate Principal 
Margaret Andersen Congleton chair, 
fully funded in perpetuity 
Daniel Katzen 
Elizabeth B. Storer chair, 
fully funded in perpetuity 
Jay Wadenpfuhl 
John P. II and Nancy S. Eustis chair, 
fully funded in perpetuity 

Jason Snider 
Jonathan Menkis 

Jean-Noel and Mona N. 
Tariot chair 

Trumpets 

Thomas Rolfs 

Principal 

Roger Louis Voisin chair, 
endowed in perpetuity in 1977 
Peter Chapman 
Ford H Cooper chair, endowed 
in perpetuity in 1984 



Assistant Principal 
Benjamin Wright 

Trombones 

Ronald Barron 

Principal 

J. P. and Mary B. Barger chair, 
fully funded in perpetuity 
Norman Bolter 
Arthur and Linda Gelb chair 

Bass Trombone 

Douglas Yeo 

John Moors Cabot chair, 
fully funded in perpetuity 



Tuba 

Mike Roylance 

Principal 

Margaret and William C Rousseau 

chair, fully funded 

in perpetuity 

Timpani 

Timothy Genis 

Sylvia Shippen Wells chair, endowed 
in perpetuity in 1974 

Percussion 

Frank Epstein 

Peter and Anne Brooke chair, 

fully funded in perpetuity 
J. William Hudgins 

Peter Andrew Lurie chair, 

fully funded in perpetuity 



Barbara Lee chair 



Assistant Timpanist 

Mr. and Mrs. Edward H. Linde 

chair 

Harp 

Ann Hobson Pilot 

Principal 

Voice and Chorus 

John Oliver 

Tanglewood Festival Chorus 

Conductor 

Alan J. and Suzanne W.Dworsky 

chair, fully funded in perpetuity 

Librarians 

Marshall Burlingame 
Principal 

Lia and William Poorvu chair, 
fully funded in perpetuity 

William Shisler 

John Perkel 

Assistant Conductors 

Jens Georg Bachmann 
Anna E. Finnerty chair, 
fully funded in perpetuity 

Ludovic Morlot 

Personnel Managers 
Lynn G. Larsen 
Bruce M. Creditor 

Stage Manager 
John Demick 




ART/ MUSIC /FILM 
DANCE/THEATER 



GALLERIES OPEN 11-5, CLOSED TUESDAY 
(JULY & AUGUST: 10-6 EVERYDAY) 



FOR COMPLETE SCHEDULE OF EVENTS, 
CALL413.MoCA.1110RVISITWWW.MASSMoCA.ORG. 




A BRIEF HISTORY OF THE BOSTON SYMPHONY ORCHESTRA 

Now in its 126th season, the Boston Symphony Orchestra gave its inaugural concert 
on October 22, 1881, and has continued to uphold the vision of its founder, the busi- 
nessman, philanthropist, Civil War veteran, and amateur musician Henry Lee Higgin- 
son, for well over a century. The Boston Symphony Orchestra has performed through- 
out the United States, as well as in Europe, Japan, Hong Kong, South America, and 

China; in addition, it reaches audiences numbering in the 
millions through its performances on radio, television, and 
recordings. It plays an active role in commissioning new 
works from todays most important composers; its summer 
season at Tanglewood is regarded as one of the world's most 
important music festivals; it helps develop the audience of 
the future through BSO Youth Concerts and through a 
variety of outreach programs involving the entire Boston 
community; and, during the Tanglewood season, it sponsors 
the Tanglewood Music Center, one of the world's most 
important training grounds for young composers, conduc- 
tors, instrumentalists, and vocalists. The orchestra's virtuosi- 
ty is reflected in the concert and recording activities of the 
Boston Symphony Chamber Players, one of the world's 
most distinguished chamber ensembles made up of a major symphony orchestra's prin- 
cipal players, and the activities of the Boston Pops Orchestra have established an inter- 
national standard for the performance of lighter kinds of music. Overall, the mission 
of the Boston Symphony Orchestra is to foster and maintain an organization dedicated 
to the making of music consonant with the highest aspirations of musical art, creating 
performances and providing educational and training programs at the highest level of 
excellence. This is accomplished with the continued support of its audiences, govern- 
mental assistance on both the federal and local levels, and through the generosity of 
many foundations, businesses, and individuals. 

Henry Lee Higginson dreamed of founding a great and permanent orchestra in his 
home town of Boston for many years before that vision approached reality in the spring 
of 1881. The following October the first Boston Symphony Orchestra concert was 
given under the direction of conductor Georg Henschel, who would remain as music 




Major Henry Lee Higgin- 
son, founder of the Boston 
Symphony Orchestra 




The first photograph, actually a collage, of the Boston Symphony Orchestra under Georg 
Henschel, taken 1882 




Rush ticket line at Symphony Hall, 
probably in the 1 930s 



director until 1884. For nearly twenty years Boston Symphony concerts were held in 
the Old Boston Music Hall; Symphony Hall, one of the world's most highly regarded 
concert halls, was opened on October 15, 1900. The BSO's 2000-01 season celebrated 
the centennial of Symphony Hall, and the rich history of music performed and intro- 
duced to the world at Symphony Hall since it opened over a century ago. 

Georg Henschel was succeeded by a series of German-born and -trained conduc- 
tors — Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler — culminating 

in the appointment of the legendary Karl 
Muck, who served two tenures as music 
director, 1906-08 and 1912-18. Meanwhile, 
in July 1885, the musicians of the Boston 
Symphony had given their first "Promenade" 
concert, offering both music and refresh- 
ments, and fulfilling Major Higginson's 
wish to give "concerts of a lighter kind of 
music." These concerts, soon to be given in 
the springtime and renamed first "Popular" 
and then "Pops," fast became a tradition. 

In 1915 the orchestra made its first trans- 
continental trip, playing thirteen concerts at 
the Panama-Pacific Exposition in San Fran- 
cisco. Recording, begun with the Victor Talking Machine Company (the predecessor 
to RCA Victor) in 1917, continued with increasing frequency. In 1918 Henri Rabaud 
was engaged as conductor. He was succeeded the following year by Pierre Monteux. 
These appointments marked the beginning of a French-oriented tradition which 
would be maintained, even during the Russian-born Serge Koussevitzky's time, with 
the employment of many French-trained musicians. 

The Koussevitzky era began in 1924. His extraordinary musicianship and electric 
personality proved so enduring that he served an unprecedented term of twenty- five 
years. The BSO's first live concert broadcasts, privately funded, ran from January 1926 
through the 1927-28 season. Broadcasts continued sporadically in the early 1930s, 
regular live Boston Symphony broadcasts being initiated in October 1935. In 1936 
Koussevitzky led the orchestra's first concerts in the Berkshires; a year later he and the 
players took up annual summer residence at Tanglewood. Koussevitzky passionately 
shared Major Higginson's dream of "a good honest school for musicians," and in 1940 
that dream was realized with the founding of the Berkshire Music Center (now called 
the Tanglewood Music Center). 

In 1929 the free Esplanade concerts on the Charles River in Boston were inaugu- 
rated by Arthur Fiedler, who had been a member of the orchestra since 1915 and who 
in 1930 became the eighteenth conductor of the Boston Pops, a post he would hold 
for half a century, to be succeeded by John Williams in 1980. The Boston Pops Orches- 
tra celebrated its hundredth birthday in 1985 under Mr. Williams's baton. Keith 
Lockhart began his tenure as twentieth conductor of the Boston Pops in May 1995, 
succeeding Mr. Williams. 

Charles Munch followed Koussevitzky as music director of the Boston Symphony 
Orchestra in 1949. Munch continued Koussevitzky's practice of supporting contem- 
porary composers and introduced much music from the French repertory to this 
country. During his tenure the orchestra toured abroad for the first time and its con- 
tinuing series of Youth Concerts was initiated under the leadership of Harry Ellis 
Dickson. Erich Leinsdorf began his seven-year term as music director in 1962. Leins- 
dorf presented numerous premieres, restored many forgotten and neglected works to 




the repertory, and, like his two predecessors, made many recordings for RCA; in addi- 
tion, many concerts were televised under his direction. Leinsdorf was also an energetic 
director of the Tanglewood Music Center; under his leadership a full- tuition fellow- 
ship program was established. Also during these years, in 1964, the Boston Symphony 
Chamber Players were founded. William Steinberg succeeded Leinsdorf in 1969. He 
conducted a number of American and world premieres, made recordings for Deutsche 
Grammophon and RCA, appeared regularly on television, led the 1971 European tour, 
and directed concerts on the east coast, in the south, and in the midwest. 

Seiji Ozawa became the BSO's thirteenth music director in the fall of 1973, following 
a year as music adviser and three 
years as an artistic director at Tangle- 
wood. His historic twenty-nine-year 
tenure, from 1973 to 2002, exceeded 
that of any previous BSO conductor; 
in the summer of 2002, at the com- 
pletion of his tenure, he was named 
Music Director Laureate. Besides 
maintaining the orchestra's reputa- 
tion worldwide, Ozawa reaffirmed 
the BSO's commitment to new 
music through the commissioning of 
many new works (including com- 
missions marking the BSO's centen- 
nial in 1981 and the TMC's fiftieth 
anniversary in 1990), played an 
active role at the Tanglewood Music Center, and further expanded the BSO's record- 
ing activities. In 1995 he and the BSO welcomed Bernard Haitink as Principal Guest 
Conductor. Named Conductor Emeritus in 2004, Mr. Haitink has led the BSO in 
Boston, New York, at Tanglewood, and on tour in Europe, and has also recorded with 
the orchestra. 

In the fall of 2001, James Levine was named to succeed Seiji Ozawa as music direc- 
tor. Maestro Levine began his tenure as the BSO's fourteenth music director — and the 
first American-born conductor to hold that position — in the fall of 2004. His wide- 
ranging programs balance great orchestral, operatic, and choral classics with equally 
significant music of the 20th and 21st centuries, including newly commissioned works 
from such important American composers as Milton Babbitt, Elliott Carter, John 
Harbison, Peter Lieberson, and Charles Wuorinen. He also appears as pianist with 
the Boston Symphony Chamber Players, conducts the Tanglewood Music Center 
Orchestra, and works with the TMC Fellows in classes devoted to orchestral reper- 
toire, Lieder, and opera. 

Today the Boston Symphony Orchestra, Inc., presents more than 250 concerts 
annually. It is an ensemble that has richly fulfilled Henry Lee Higginson's vision of 
a great and permanent orchestra in Boston. 



Symphony Hall in the early 1940s, with the main 
entrance still on Huntington Avenue, before the 
intersection of Massachusetts and Huntington 
avenues was reconstructed so the Green Line could 
run underground 




South Mountain Concerts 

Pittsfield, Massachusetts 
89 th Season of Chamber Music 
certs Sundays at 3 P.M. 

September 2 

redo, Robinson Trio 

September 9 

cs String Quartet 

September 16 

n String Quartet 

September 30 

String Quartet 

October 7 

tring Quartet 

and Merfehem Pressler, piano 

For Brochure and Ticket Information Write 

South Mountain Concerts, Box 23 

Pittsfield, MA 01 202 Phone 41 3 442-21 06 

www.southmountainconcerts.com 




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JULY 5 - AUGUST 19, 2007 



BARDSUMMERSCAPE 

Bard SummerScape 2007 explores the cultural milieu of that most British of composers, Edward Elgar, 
through opera, theater, music, dance, and the 18th annual Bard Music Festival, "Elgar and His World." 
SummerScape takes place in the visually stunning and acoustically superb Fisher Center, designed by 
Frank Gehry, and other venues on campus, including the unique Spiegeltent. 



Two Operas by 
Alexander von Zemlinsky 

A FLORENTINE TRAGEDY 

THE DWARF 

July 27, 29, August 2, 4, 5 

American Symphony Orchestra 
Conducted by Leon Botstein 
Directed by Olivier Tambosi 
Sets and costumes by 
McDermott St McGough 

THE SORCERER 

August 3-5, 8-12 

By Gilbert and Sullivan 
Conducted by James Bagwell 
Directed by Erica Schmidt 

THEATER 

SAINT JOAN 

July 12-15, 19-22 

By George Bernard Shaw 
Directed by Gregory Thompson 

DANCE 

DOUG VARONE AND 

DANCERS 

July 5-8 

SUSAN MARSHALL 
& COMPANY 
July 6-8, 12, 14, 15 



BARD MUSIC FESTIVAL 

Eighteenth season 

ELGAR AND HIS WORLD 

August 10 -12, 17-19 

Two weekends of concerts, 
panels, and other events bring 
the musical world of Edward 
Elgar vividly to life 

FILM FESTIVAL 

BRITISH POSTWAR CLASSICS 
Thursdays and Sundays, 
July 8 -August 9 

Offering such masterpieces 
as The Third Man and Black 
Narcissus and the madcap 
romps produced by Ealing 
Studios 



SPECIAL EVENTS 

SPIEGELTENT 

July 5- August 19 

The Spiegeltent is the very 
essence of a festival club and 
European "kabaret salon." 
It's the perfect venue for 
rollicking late-night 
performances and 
intimate dining. 





Seven weeks of cultural delight! 

— International Herald Tribune 




For tickets: 845-758-7900 or 
www.fishercenter.bard.edu 



Annandale-on-Hudson. N.Y 



Photo: ■tPexet Aa.- 






IGHTEENTH ANNUAL 



BARD MUSIC FESTIVAL 



AND HIS WORLD 



_ August 17-19, 2007 

The Bard Music Festival's 18th season explores the musical world of Edward Elgar 
(1857-1934), an outsider to the world of Victorian society whose works nevertheless came 
to embody the essence of English classical music. Through concerts, panels, and special 
events in the Fisher Center, designed by Frank Gehry, and other venues, this year's 
Bard Music Festival promises to bring Elgar and his world vividly to life. 

©Hulton-DeutschCollection/CORBIS 



WEEKEND ONE 
AUGUST 10-12, 2007 

FRIDAY, AUGUST 10 

PROGRAM ONE 

ELGAR: FROM AUTODIDACTTO 
"MASTER OF THE KING'S 
MUSICK" 
Works by Elgar 

SATURDAY, AUGUST 11 

PROGRAM TWO 

MUSIC IN THE ERA OF 

QUEEN VICTORIA 

Works by Elgar, Cramer, Bennett, 

Mendelssohn-BartholdyWalmisley, 

Stainer, Horn, Lehmann, Hatton, 

Sullivan, Wesley, Ouseley 

SPECIAL EVENT 

PIANISTIC ANGLOPHILIA: ELGAR, 
IRELAND, AND GRAINGER 
Performance with commentary 

PROGRAM THREE 

ELGAR AND THE "ENGLISH 
MUSICAL RENAISSANCE" 
Works by Elgar, Parry, Stanford 
American Symphony Orchestra 
Leon Botstein, conductor 



SUNDAY, AUGUST 12 

PROGRAM FOUR 

ELGAR AND THE VICTORIAN 

SPIRIT 

Works by Elgar, Smyth, Somervel, 

Parry, Stanford 

PROGRAM FIVE 

IMPERIAL POMP AND PASTORAL 

NOSTALGIA: BRITISH MUSIC FOR 

BRASS AND STRINGS 

Works by Elgar, Bantock, Strauss, 

Vaughan Williams, Hoist, Ireland, 

Grainger 

WEEKEND TWO 
AUGUST 17-19, 2007 

FRIDAY, AUGUST 17 

PROGRAM SIX 

ELGAR AND THE SALON 
Works by Elgar, Faure, Bridge, 
White, Smyth, Parry, Quilter 

SATURDAY, AUGUST 18 

PROGRAM SEVEN 

"GOD BLESS THE MUSIC HALLS": 
VICTORIAN AND EDWARDIAN 
POPULAR SONG IN AMERICA 
AND BRITAIN 
Performance with commentary 



PROGRAM EIGHT 

THE GREAT WAR AND 
MODERN MUSIC 
Works by Elgar, Debussy, Ireland, 
Bliss, Butterworth, Gurney 

PROGRAM NINE 

ELGAR: THE IMPERIAL 

SELF-PORTRAIT 

Works by Elgar 

American Symphony Orchestra 

Leon Botstein, conductor 

SUNDAY, AUGUST 19 

PROGRAM TEN 

ELGAR AND MODERNISM 
Works by Elgar, Delius, Hoist, 
Scott, Howel Is, Walton 

PROGRAM ELEVEN 

THE CULTURE OF RELIGION: 
THE DREAM OF GERONTIUS 
Works by Elgar 

American Symphony Orchestra 
Leon Botstein, conductor 



THE RICHARD B. 

FISHER 
CENTER 

PERFORMING ARTS 
AT BARD COLLEGE 

Annandale-on-Hudson, NY. 



Tickets are $25 to $55. Panels and symposia are free. 
For tickets call 845-758-7900 or visit www.fishercenter.bard.edu 



Table of Contents 

Prelude Concert of Friday, July 6, at 6 (Ozawa Hall) 3 

Members of the Boston Symphony Orchestra; Andre Previn, piano 
MUSIC OF MOZART AND POULENC 

Boston Symphony concert of Friday, July 6, at 8:30 11 

James Levine conducting; Heidi Grant Murphy and Kristine Jepson, vocal 

soloists; Women of the Tanglewood Festival Chorus, John Oliver, conductor 
MUSIC OF MENDELSSOHN AND TCHAIKOVSKY 

Boston Symphony concert of Saturday, July 7, at 8:30 23 

Ludovic Morlot conducting; Lynn Harrell, cello 

DVORAK, TCHAIKOVSKY, AND MUSSORGSKY/RAVEL 

Boston Symphony concert of Sunday, July 8, at 2:30 35 

Andre Previn conducting; Jean-Philippe Collard, piano 

MUSIC OF TCHAIKOVSKY, RACHMANINOFF, AND PROKOFIEV 

THIS WEEK'S ANNOTATORS 

Marc Mandel is Director of Program Publications of the Boston Symphony Orchestra. 

Susan Halpern has been writing program notes for more than a decade, for such venues 
as Carnegie Hall and the Kimmel Center in Philadelphia, as well as for many chamber 
music series and orchestras throughout the country. 

Steven Ledbetter, program annotator of the Boston Symphony Orchestra from 1979 to 
1998, now writes program notes for orchestras and other ensembles throughout the 
country, and for such concert venues as Carnegie Hall. 

Harlow Robinson, Matthews Distinguished University Professor at Northeastern 
University, writes frequently on Russian music and culture for the New York Times, 
Los Angeles Times, Opera News, Symphony, Playbill, and other publications. 

Michael Steinberg was program annotator of the Boston Symphony Orchestra from 
1976 to 1979, and after that of the San Francisco Symphony and New York Phil- 
harmonic. Oxford University Press has published three volumes of his program notes. 

£*> 
SATURDAY-MORNING OPEN REHEARSAL SPEAKERS 

July 7, 21, 28; August 18 — Marc Mandel, BSO Director of Program Publications 
July 14; August 4, 11 — Robert Kirzinger, BSO Publications Associate 

&\~ 
3 




Koussevitzky Shed lawn video projections are provided by 
Myriad Productions, Saratoga Springs, NY 



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July 6-7-8 



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SEIJI OZAWA HALL 



Prelude Concert 

Friday, July 6, at 6 

MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA 
ELIZABETH OSTLING, flute 
ROBERT SHEENA, oboe 
THOMAS MARTIN, clarinet 

ANDRE PREVIN, piano 



RICHARD RANTI, bassoon 
DANIEL KATZEN, horn 



MOZART 



Quintet in E-flat for piano, oboe, clarinet, 
horn, and bassoon, K.452 

Largo — Allegro moderato 

Larghetto 

Rondo: Allegro moderato 



POULENC 



Sextet for piano, flute, oboe, clarinet, bassoon, 
and horn 

Allegro vivace 
Divertissement: Andantino 
Finale: Prestissimo 



Piano by Bosendorfer New York — Bosendorfer Concert Grand 290 "Imperial" 
prepared by Gerhard Feldmann 



State Street Global Advisors is proud to sponsor the 2007 Tanglewood season. 



Steinway and Sons Pianos, selected exclusively for Tanglewood 

Special thanks to Delta Air Lines and Commonwealth Worldwide Chauffeured Transportation 

In consideration of the performers and those around you, cellular phones, pagers, 
and watch alarms should be switched off during the concert 

Please do not take pictures during the concert. Flashes, in particular, are distracting to 
the performers and other audience members. 

Note that the use of audio or video recording equipment during performances in the 
Music Shed or Ozawa Hall is prohibited. 



Notes 

On Thursday, April 1, 1784, at the Imperial and Royal National Theatre in Vienna, 
Wolfgang Amade Mozart (1756-1791) presented a "grand musical concert" for his own 
benefit including, in addition to three of his symphonies and a new piano concerto, "an 
entirely new grand quintet" (K.452) which he had entered into his own thematic cata- 



Weekl 



logue just two days earlier. Mozart was the pianist for this performance, and in a letter 
to his father on April 10 he declared the quintet to be "the best thing I have written so 
far in my life I wish you could have heard it — and how beautifully it was performed!" 

The quintet dates from what may very well have been the busiest and happiest 
months of Mozart's career. He had moved to Vienna several years earlier to escape his 
intolerable employment with the Archbishop Colloredo of Salzburg, and he would soon 
achieve the height of his popularity as both pianist and composer. His principal works 
during this time were the extraordinary series of eleven piano concertos beginning 
with the E-flat, K.449, in February 1784 and extending through those in A, K.488, and 
C minor, K.491, both entered into his catalogue in March 1786. He had triumphed 
with his opera Idomeneo in Munich in January 1781. In July 1782, the premiere of his 
opera The Abduction from the Seraglio at the Burgtheater won over Vienna's operagoing 
public, as would The Marriage of Figaro four years later. Soon after the first performance 
of the quintet, Mozart played it again in a June 1784 concert in which his pupil Babette 
Ployer introduced the magical new G major piano concerto he had written for her and 
which immediately follows the quintet in Kochel's chronological catalogue of Mozart's 
works. 

Mozart begins with an introductory Largo — an unusually slow tempo marking — 



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Based on conception of Jerome Robbins 

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Lyrics by StepheffSondheim 

Entire original production directed and 
choreographed by JerOme Robbins 

Choreographed by Joshua Berg., 
Directed by Julianne Boyd 1 

BLACK COMEDY" 
7/19-874 

By Peter Shaffer 
Directed by Lou Jacob 

UNCLE VANYA 4 
8/9-26 I 

By Anton Chekhov 
Translated by Paul Schmidt 
Directed by Julianne Boyd 

413 236- 

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whose weight offsets the brightness of the home key and which portends a degree of 
seriousness surprising for the choice of instrumentation. At the same time, this slow 
tempo provides space for each participant to be properly introduced with a regard for 
balance and individual timbres that remains a principal concern throughout the piece. 
The Allegro moderato is noteworthy also for the degree of harmonic ingenuity and 
exploration compressed into its very brief development section. The second movement, 
a Larghetto in B-flat, is at once deeply involving and yet always forward-moving, offer- 
ing a poignancy of expression that is heightened by carefully moderated chromaticism. 
The rondo finale, even with its darkly colored central episode, is more expectedly inno- 
cent and includes a necessarily (given the number of players) written-out "cadenza in 
tempo' for all five participants before the final return of the rondo theme. 






Critic Claude Rostand once wrote of Francis Poulenc (1899-1963) that he was "part 
monk, part guttersnipe," a neat characterization of the two strikingly different aspects of 
his musical personality. Much of his work from the early 1920s, when he was associated 
with the highly publicized "Groupe des Six," is lighthearted, even frivolous, sometimes 
bawdy, and thoroughly Parisian. An opposing strain appeared in his musical character in 



PRELUDE CONCERT SEATING 

Please note that seating for the Friday-evening Prelude Concerts in Seiji Ozawa Hall 
is unreserved and available on a first-come, first-served basis when the grounds open at 
5:30 p.m. Patrons are welcome to hold one extra seat in addition to their own. Also please 
note, however, that unoccupied seats may not be held later than five minutes before con- 
cert time (5:55 p.m.), as a courtesy to those patrons who are still seeking seats. 



VISIT GEORGE AND SUZY'S HOUSE. 
IT'S JUST AROUND THE CORNER. 



NEWLY RESTORED INTERIORS OF THE 
30s AND 40s RECREATED FROM ARCHIVAL PHOTOGRAPHS 





SEE THEIR WORKS, AS WELL AS 
THOSE OF PICASSO, BRAQUE, 
GRIS, AND LEGER ON DISPLAY. 



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92 Hawthorne Street | Lenox MA | 413 637 0166 | Open Thursday-Sunday | Guided Tours | frelinghuysen.org 
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the middle '30s, when the death of a close friend prompted the composition of a sacred 
choral work. Thereafter sacred and secular mingled almost equally in his output, and 
he could shift even within the context of a single phrase from melancholy or somber 
lyricism to nose-thumbing impertinence. As Ned Rorem said in a memorial tribute, 
Poulenc was "a whole man always interlocking soul and flesh, sacred and profane." 
Possessing the least formal musical education of any noted 20th-century composer, 
Poulenc learned from the music that he liked. His own comment is the best summary: 

The music of Roussel, more cerebral than Satie's, seems to me to have opened a 
door on the future. I admire it profoundly; it is disciplined, orderly, and yet full of 
feeling. I love Chabrier: Espana is a marvelous thing and the Marche joyeuse is a chef- 
d'oeuvre I consider [the Massenet operas] Manon and Werther as part of French 

national folklore. And I enjoy the quadrilles of Offenbach. Finally my gods are Bach, 
Mozart, Haydn, Chopin, Stravinsky, and Mussorgsky. You may say, what a concoction! 
But that's how I like music: taking my models everywhere, from what pleases me. 

Poulenc originally composed his Sextuor for piano and winds in 1932, but he was 
dissatisfied with the work and rewrote it entirely in 1939. It is a composition of enor- 
mous charm, hardly profound, but brilliantly written for the participating instruments. 
The piano — Poulenc's own instrument — is without doubt the leader, with scarcely a 
measure of rest in the entire work. The winds carry on a cheeky dialogue throughout. 
The work is essentially a divertissement; though sudden turns of mood and feeling 
recall the serious side of the composer, the overall spirit remains fundamentally light- 
hearted. 

— Notes by Marc Mandel (Mozart) 
and Steven Ledbetter (Poulenc) 

ARTISTS 



For a biography of Andre Previn, see page 41. 

Elizabeth Ostling joined the Boston Symphony Orchestra as assistant principal flute in 
September 1994 and was named associate principal flute as of the 1997-98 season, having 
served as acting principal from March 1995. She is also principal flute of the Boston Pops 
Orchestra. Ms. Ostling grew up in Ridgewood, New Jersey, and graduated in May 1994 from 
the Curtis Institute of Music in Philadelphia, where she was a student of Julius Baker and 
Jeffrey Khaner. During her freshman year at Curtis she won first prize in the quadrennial 
Koussevitzky Competition for Woodwinds in New York City. As a Tanglewood Music Center 
Fellow she was featured during Tanglewood's annual Festival of Contemporary Music as 
soloist in Michael Gandolfi's chamber concerto, Caution to the Wind. Ms. Ostling has pre- 
miered two works written just for her: Gandolfi's Geppettos Workshop for flute and piano, and 
(with the Metamorphosen Chamber Orchestra) Dan Coleman's Pavanes and Symmetries. As 
soloist with orchestra she has also appeared with the Boston Pops, the New Jersey Symphony 
Orchestra, and the Ridgewood Symphony Orchestra in her hometown. A frequent performer 
in solo and chamber recitals, she has also appeared with the Boston Symphony Chamber 
Players and the Boston Artists Ensemble. 

Robert Sheena joined the Boston Symphony Orchestra as its English horn player in May 
1994, at the start of that year's Boston Pops season. He received his bachelor of music degree 
from the University of California at Berkeley and his master of music degree from North- 
western University School of Music. During the 1986-87 season he performed frequendy 
with the Chicago Symphony as an extra player. Before joining the BSO he was English horn 
player and assistant principal oboe of the Hong Kong Philharmonic (1987-1991) and of the 
San Antonio Symphony (1991-1994). With the BSO he has been featured as English horn 
soloist in Andre Previn's Reflections and Sibelius's The Swan ofTuonela. As part of an ongoing 









effort to expand the repertoire for his instrument, he gave the world premiere of Gabriel 
Gould's Watercolors for English horn and chamber orchestra, which was commissioned for 
him by the Albany Symphony and was recorded with that ensemble in November 1998. Mr. 
Sheena was a Tanglewood Music Center Fellow in 1984. His principal teachers included 
English horn player Grover Schiltz, Chicago Symphony principal oboe Ray Still, and San 
Francisco Ballet Orchestra principal oboe William Banovetz. 

Thomas Martin served as principal clarinet of the Alabama Symphony Orchestra before 
joining the Boston Symphony in the fall of 1984. Born in Oshkosh, Wisconsin, Mr. Martin 
graduated from the Eastman School of Music, where he was a student of Stanley Hasty and 
Peter Hadcock. He participated in master classes with Guy Deplus of the Paris Conservatory. 
Mr. Martin performs frequently as a recitalist and chamber musician and has been heard on 
"Morning Pro Musica" on WGBH radio. He has appeared in the Chamber Prelude series at 
Symphony Hall, on the Friday Preludes at Tanglewood, at the Longy School of Music, and 
at the Gardner Museum. 

Associate principal bassoonist Richard Ranti joined the Boston Symphony Orchestra at the 
start of the 1989-90 season; he is also principal bassoonist of the Boston Pops Orchestra. 
Born in Montreal, Mr. Ranti started bassoon at age ten, studying with Sidney Rosenberg 
and David Carroll. After graduating from Interlochen Arts Academy, he studied with Sol 
Schoenbach at the Curtis Institute of Music. At nineteen he won the second bassoon posi- 
tion in the Philadelphia Orchestra; he spent six years with that orchestra, the last as acting 
associate principal. A 1982 Fellow at the Tanglewood Music Center, Mr. Ranti has also par- 
ticipated in the Spoleto and Marlboro festivals. He won second prize in the 1982 Toulon 
International Bassoon Competition and is the recipient of two Canada Council grants. Mr. 
Ranti can be heard frequently in Boston-area chamber performances with groups such as 
the Walden Chamber Players, with whom he has recorded an album of bassoon and string 
music. He is on the faculty of both the New England Conservatory and Boston University 
School for the Arts. 

Daniel Katzen is second horn of the Boston Symphony Orchestra. A faculty member at the 
Boston University School for the Arts and the New England Conservatory of Music, he has 
given recitals in Chicago, Los Angeles, at Carnegie Recital Hall in New York, and at Jordan 
Hall in Boston, where he made his solo recital debut in 1984. He has also performed as horn 
soloist with the BSO, the Boston Pops Orchestra, the New England Conservatory Orchestra, 
and the North Shore Philharmonic. Before joining the BSO at the beginning of the 1979 
Pops season, Mr. Katzen was fourth horn with the San Diego Symphony and second horn 
with the Grant Park Symphony in Chicago. Born in Rochester, New York, he began playing 
the piano at two and cello at nine. Two years later he took up the horn at the Eastman School 
of Music Preparatory Department with Milan Yancich. After graduating with honors, Mr. 
Katzen attended Indiana University School of Music, where his teachers were Michael 
Holtzel and Philip Farkas; the course of study included a year at the Mozarteum Academy in 
Salzburg, Austria. He did post-graduate work at Northwestern University, where he studied 
with Dale Clevenger. 




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OPENING NIGHT AT TANGLEWOOD 
Friday,July6,2007 

HONORARY CHAIRS 

Joyce and Edward Linde 

BENEFACTOR CHAIRS 

Dr. Raymond and Hannah H. Schneider 

BENEFACTOR COMMITTEE 



Jan Brett and Joseph Hearne 

Gregory E. Bulger and Richard J. Dix 

John F. Cogan, Jr. and Mary L. Cornille 

Cynthia and Oliver Curme 

Channing Dichter and Ursula Ehret-Dichter 

Ginger and George Elvin 

Mr. and Mrs. John H. Fitzpatrick 

Nancy Fitzpatrick and Lincoln Russell 

Cora and Ted Ginsberg 

Michael and Sally Gordon 

Susie and Stuart Hirshfield 

Margery and Everett Jassy 

Dorothy and Charlie Jenkins 

Robert and Luise Kleinberg 

Buddy and Nannette Lewis 



Cynthia and Robert J. Lepofsky 

Jay and Shirley Marks 

Robert and Jane Mayer 

Carol and Thomas McCann 

Joan and Martin Messinger 

Claudio and Penny Pincus 

Carol and Joe Reich 

Carole and Edward I. Rudman 

Robert and Scott Singleton 

Margery and Lewis Steinberg 

Caroline and James Taylor 

Mr. and Mrs. Wilmer J. Thomas, Jr. 

Jacqueline and Albert Togut 

Stephen and Dorothy Weber 






The Boston Symphony Orchestra gratefully acknowledges the following individuals 

whose generous support for this year's event has helped ensure 

the success of the Boston Symphony Orchestra in this year and years ahead: 



Joan Taub Ades and 

Alan M. Ades 
Linda J.L. Becker 
John F. Cogan, Jr. and 

Mary L. Cornille 
Judith and Stewart Colton 
Cynthia and Oliver Curme 
Mr. and Mrs. John H. 

Fitzpatrick 
Michael and Sally Gordon 



GOLD BENEFACTORS 

Ms. Rhoda Herrick 
Dorothy and Charlie 

Jenkins 
Stephen B. Kay and 

Lisbeth Tarlow 
Debbie and Ted Kelly 
Cynthia and Robert J. 

Lepofsky 
Mrs. Vincent J. Lesunaitis 
Edward and Joyce Linde 



Joan and Martin Messinger 
Mrs. Millard H. Pryor, Jr. 
Carol and Joe Reich 
Dr. Raymond and Mrs. 

Hannah H. Schneider 
Caroline and James Taylor 
Mr. and Mrs. Wilmer J. 

Thomas, Jr. 
Jacqueline and Albert Togut 



Gideon Argov and 

Alexandra Fuchs 
Lucille Batal and Avi Nelson 
George and Roberta Berry 
Bonnie Boyd and Jennifer 

Leighton 
Jan Brett and Joseph Hearne 
Samuel B. and Deborah D. 

Bruskin 



SILVER BENEFACTORS 

Robert and Mary Carswell 
Ursula Ehret-Dichter and 

Channing Dichter 
Nancy Fitzpatrick and 

Lincoln Russell 
Mr. and Mrs. Dale Fowler 
Daniel Freed 
Cora and Ted Ginsberg 
Robert C. Grien 



Harold Grinspoon and 

Diane Troderman 
Allen and Valerie Hyman 
Margery and Everett Jassy 
Leslie and Stephen Jerome 
Tanny and Courtney Jones 
Martin and Wendy Kaplan 
Buddy and Nannette Lewis 
Mr. and Mrs. David Lloyd 



SILVER BENEFACTORS ...continued 



Jay and Shirley Marks 
Dr. Robert and Jane B. 

Mayer 
Evelyn Stefansson Nef 
Mr. and Mrs. Eric 

Oddleifson 
Claudio and Penny Pincus 



Jerome and Henrietta Berko 
Jim and Nancy Bildner 
Lee and Sydelle Blatt 
Mark and Linda Borden 
Mr. and Mrs. Jay R. Braus 
Gregory Bulger and 

Richard Dix 
Mike and Sheila Chefetz 
Joseph and Phyllis Cohen 
James and Tina Collias 
Mr. and Mrs. C. Jeffrey Cook 
Ranny Cooper and 

David Smith 
Clive and Ann Cummis 
Mr. and Mrs. Nelson J. 

Darling, Jr. 
Ginger and George Elvin 
Eitan and Malka Evan 
Ms. Marie V. Feder 
Nancy Edman Feldman 
Lola Finkelstein 
Sanford Fisher 
Honorable Peter H. B. 

Frelinghuysen 
Ralph and Audrey Friedner 
Leslie and Johanna Garfield 
Dr. Donald and Phoebe 

Giddon 



Mr. and Mrs. Walter Pressey Margery and Lewis 



Elaine and Bernard Roberts 
Carole and Edward I. 

Rudman 
Alvin and Pearl Schottenfeld 
Arlene and Donald Shapiro 



BRONZE BENEFACTORS 

Mr. Thomas Graham 
Susan and Richard Grausman 
Joseph K. and Mary Jane 

Handler 
Jane and Dick Harte 
Susie and Stuart Hirshfield 
Michael and Pepi Kahn 
Leonard Kaplan and 

Marcia Simon Kaplan 
Eric and Melissa Katzman 
Mr. and Mrs. Bruce Kelly 
Robert and Luise Kleinberg 
Alan Kluger and Amy Dea 
Sandra G. Krakoff 
Mrs. Harvey Chet 

Krentzman 
Christopher and Laura 

Lindop 
Elaine and Ed London 
Mr. Daniel Mathieu and 

Mr. Thomas M. Potter 
McCann Family Fund 
Frank J. McDonnell 
Jo Frances and John Meyer 
Richard and Marian Meyers 
Wilma and Norman 

Michaels 
Annette and Michael Miller 



Steinberg 
Ms. Alice Stephens 
Stephen and Dorothy Weber 
Mr. and Mrs. Robert C. 

Winters 



Carol and George Minkoff 
Patten Family Foundation 
Drs. Eduardo and Lina 

Plantilla 
Joyce Plotkin and Ben Aspel 
Renee Rapaporte 
Lewis and Marcia Ripps 
Barbara and Michael 

Rosenbaum 
Dr. Robert and Esther 

Rosenthal 
Kay and Parvis Sadighi 
Louise and Arnold Sagalyn 
Ernest and Anne Schnesel 
Hannah and Walter Shmerler 
Scott and Robert Singleton 
Wendy and John Skavlem 
Emily and Jerry Spiegel 
Michael and Elsa Daspin 

Suisman 
Marjorie and Woody Sumner 
Larry Vaber and Richard M. 

Ziter, M.D. 
Amy K. White 
Anonymous (1) 



The Boston Symphony Orchestra would like to thank the following companies 
and individuals for their generous in kind donations to this year's event: 



IN-KIND DONORS 

Be Our Guest 

High Output 

George and Carol Jacobstein 



Ruby Wines 
Ward's Nursery 



Special thanks to the Tanglewood Association of 
the Boston Symphony Association of Volunteers for their event assistance. 



season sponsor 
State Street 
Global Advisors 



3 j>Ex\.® 



Names listed as of June 27, 2007. 



IPEARE 

^ComBwy 



open«ew won 



MAY 25-S 



Rough Crossing 



May-iDctober 2007 
Lenox, MA 



/ 



mer 
Night's Dream 

by William Shakespeare 
SEPT i 

Blue/Orange 

Joe Penhall 
JULY 27-SEPT 2 

Antony and Cleopat. 

by William Shakespeare 
SEPT. 28-OCT 28 

The Secret of 
Sherlock Holmes 

by Jeremy Paul 




Four shows a day on two stages, 
and FREE Bankside Festival 

Bankside Festival sponsored by Teddi and Francis Laurin 

Tickets ►Shakespeare.org or 413-637-3353 



10 




Tanglewood 

BOSTON SYMPHONY ORCHESTRA 
126th Season, 2006-2007 

Friday, July 6, at 8:30 
OPENING NIGHT AT TANGLEWOOD 

JAMES LEVINE conducting 




IV 






MENDELSSOHN 



Texts are on 
pages 14 and 15. 



Overture and Incidental music to 
A Midsummer Nights Dream 

Overture 

Scherzo 

Song with Chorus 

Intermezzo 

Nocturne 

Wedding March 

Finale, with Chorus 

HEIDI GRANT MURPHY, soprano 
KRISTINE JEPSON, mezzo-soprano 
WOMEN OF THE TANGLEWOOD 

FESTIVAL CHORUS, JOHN OLIVER, 

conductor 



INTERMISSION 



TCHAIKOVSKY Symphony No. 4 in F minor, Opus 36 

Andante sostenuto — Moderato con anima 
Andantino in modo di canzona 
Scherzo (Pizzicato ostinato): Allegro 
Finale: Allegro con fuoco 



This evening's Tanglewood Festival Chorus performance is supported by 
the Alan J. and Suzanne W. Dworsky Fund for Voice and Chorus. 



State Street Global Advisors is proud to sponsor the 2007 Tanglewood season. 



Steinway and Sons Pianos, selected exclusively for Tanglewood 

Special thanks to Delta Air Lines and Commonwealth Worldwide Chauffeured Transportation 

In consideration of the performers and those around you, cellular phones, pagers, 
and watch alarms should be switched off during the concert 

Please do not take pictures during the concert. Flashes, in particular, are distracting to 
the performers and other audience members. 

Note that the use of audio or video recording equipment during performances in the 
Music Shed or Ozawa Hall is prohibited. 



11 



Weekl 



NOTES ON THE PROGRAM 



Felix Mendelssohn (1809-1847) 

Overture (Opus 21) and Incidental music (Opus 61) to 
Shakespeare's A Midsummer Nights Dream 

First performance of the overture: April 29, 1827, in Stettin, Carl Loewe cond. First per- 
formances of the incidental music. October 14, 1843 (private performance), Potsdam; 
October 18, 1843, Berlin (first public performance). First B SO performances of individual 
movements'. March 1882, "Wedding March," Georg Henschel cond.; February 1883, 

Overture, Henschel cond.; October 1883, Nocturne, Henschel 
cond. First BSO performances of complete incidental music. April 
1894, Emil Paur cond. First Tanglewood performance: August 
10, 1963, Erich Leinsdorf cond. (Overture and complete inci- 
dental music). Most recent Tanglewood performance: August 
22, 2003, Sir Neville Marriner cond., in an arrangement by 
Michael Lankester and Christopher Plummer, with Christo- 
pher Plummer, speaker; Kendra Colton, soprano; Zheng Cao, 
mezzo-soprano; Women of the Tanglewood Festival Chorus, 
John Oliver, cond. 

The case of Mendelssohn allows us a glimpse into the 
mysteries of musical genius afforded by only a few other youthful masters (Mozart and 
Schubert come to mind). Though both Mozart and Schubert traveled farther on their 
musical paths after a precocious beginning, neither of them had produced, before their 
eighteenth year, a work as brilliant as Mendelssohn's Octet (composed when he was 
sixteen) or the Overture to A Midsummer Night s Dream (written a year later). 





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Mendelssohn had every opportunity to' develop his musical culture once his talent 
became evident. His father provided the best teachers available in Berlin and organized 
regular Sunday musicales in the Mendelssohn house, engaging performers from the 
orchestra of the royal court. It was for these events that the boy began to write music 
himself and to learn important lessons in musical structure and effect by hearing per- 
formances almost as soon as the ink was dry. (Felix was not the only composer in the 
family either; his sister Fanny had a remarkable creative talent as well.) Just as he was 
entering into his teens, he turned out a remarkable assortment of twelve string sympho- 
nies in just over half a year. 

In addition to music, Felix received the best possible general education. He was 
bright, quick, and receptive, spoke several languages well, danced exquisitely, illustrated 
his letters and journals with pen and ink drawings of considerable flair, and translated 
one of Terence's comedies from the original Latin. He traveled widely and enjoyed a 
wide acquaintance of creative and intellectual leaders. By 1825 he had met Cherubini, 
Hummel, Moscheles, Rossini, Meyerbeer, and other leading musicians in Paris; his fam- 
ily was personally acquainted with Goethe. Once the family setded in Berlin in 1825, 
the Mendelssohn home became the most important salon in the city, frequented by the 
scientist Humboldt and the philosopher Hegel, as well as by people who were to play 
various roles in the young composer's life, among them the critic Adolf Bernhard Marx, 
who became a musical confidante and adviser. 

The idea of writing his Overture to "A Midsummer Night s Dream" evidently came 
to Felix when he and Fanny were reading the play together (in the translation by Schlegel). 
He originally wrote the overture for two pianos, so that he could perform it with her. 
But he orchestrated it almost at once, and it quickly attained performance and general 
popularity. Without question it is one of Mendelssohn's most remarkable accomplish- 
ments. Into the presumably restrictive context of an overture, cast in sonata form, he 
introduced a varied panoply of musical ideas, each with its own distinctive color and 
character that could be taken to represent elements of the play, then shaped them into a 
pattern that is thoroughly satisfying whether one knows the play or not. He created the 
very image of fairydom for music — delicate and light-footed — while not forgetting the 
low comedy of Bottom's dream. 

The first four measures instantly transport us to a mysterious world: four woodwind 
chords in the key of E, beginning with just two flutes and adding clarinets in the second 
measure, bassoons and one horn in the third, and oboes and a second horn in the fourth. 
Of these opening measures, the third is the most magical of all; it surprises us by bor- 
rowing its harmony from the minor key, hinting at subde dark worlds behind the bright- 
ness. Then the upper strings enter and whirl us off into the delicate world of the fairies' 
dance. The entrance of the full orchestra brings on the world of the two pairs of lovers 
who get so frightfully mixed up during the course of the plot. A heavy pounding repeat- 
ed note in the bass brings on the rustics with their antic dance and the "hee-haw" of 
poor "translated" Bottom. 

Mendelssohn might never have returned to his early masterpiece had not King Fried- 
rich Wilhelm IV ascended the throne in Berlin upon the death of his father on June 7, 
1840. Great reforms in all aspects of political and cultural life were expected from the 
new monarch, who wanted Mendelssohn to be in charge of his new plans. This meant 
moving from Leipzig, where he was happy with his work at the Gewandhaus, for unde- 
fined responsibilities in the capital. In the end, Mendelssohn arranged to receive only 
half-salary in Berlin so that he could retain the position in Leipzig as well. By 1843 the 
king expressed a wish that a series of dramatic productions with incidental music should 
be continued. Several productions were proposed; of these, Mendelssohn chose to ex- 



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pand his music for A Midsummer Night's Dream into a full score of incidental music, 
including entr'actes, dances, songs, and some brief melodramas (that is, instrumental 
music that would accompany spoken parts of the play). In undertaking this task, he 
made the conscious decision to return to the overture, written when he was half his cur- 
rent age, and, whenever possible, use it as a basis for the expansion. He did this with 
wonderful skill and effectiveness, so that no one who did not happen to know the histo- 
ry of the work would ever guess that it was not created in a single act of the imagina- 
tion. 

The Scherzo introduces the second act; its feather-light, staccato woodwind dance 
anticipates the opening of Act II and the gathering of the fairies. A "march of the 
fairies" accompanies the entrance of the fairy king Oberon from one side of the stage 
and his queen, Titania, from the other. Titania bids her attendants "Sing me now 
asleep," and they oblige with a lullaby, set by Mendelssohn as a Song with Chorus for 



women s voices. 



You spotted snakes, with double tongue, 
Thorny hedgehogs, be not seen; 
Newts and blindworms, do no wrong, 
Come not near our Fairy Queen. 
Hence away, hence away! 

Philomel, with melody 

Sing in our sweet lullaby; 

Lulla, lulla, lullaby; lulla, lulla, lullaby; 

Never harm, 

Nor spell nor charm 

Come our lovely lady night. 

So good night, with lullaby. 

Weaving spiders, come not here; 
Hence, you long-legged spinners, hence! 
Beedes black, approach not near; 
Worm nor snail, do no offense. 

Philomel with melody, etc. 
Hence away! Now all is well. 
One aloof stand sentinel. 

[Act II, scene 2] 



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The Intermezzo serves as an entr'acte between acts II and III; Mendelssohn begins 
with passionate music expressing the anguish of Hermia, who has awakened to find 
herself deserted by her beloved Lysander, but this fades away and yields to lightly comic 
material anticipating the rise of the curtain, when we will see the assembled rustics 
ready to rehearse their play in the woods. 

The Nocturne suggests the picture of the sleeping lovers. Puck's application of the 
love potion to the wrong parties has made a splendid mess of things, but by the end of 
Act III, all four of the lovers have been led a merry chase until they collapse in exhaus- 
tion. The solo horn evokes the tranquility of the woods and the lovers' sleep, though 
intimations of foregoing passions still remain in the middle section. The brightening at 
the end suggests the soft approach of dawn's light to prepare for the rise of the curtain 
on Act IV. 

Theseus (Duke of Athens), Hippolyta (Queen of the Amazons), and Hermia's father 
encounter the four lovers in the woods, with romantic sentiments once again properly 
directed. The Duke gives them permission to be married jointly with him on the day set 
for his own wedding to Hippolyta. The act ends with intimations of nuptials, signaled 
by its entr'acte, the Wedding March, probably the best-known piece Mendelssohn ever 
wrote. 

During the final act, the rustics offer to present their play, guaranteed to be both 
"tedious and brief" as well as "merry and tragic." Following the evening's entertainment, 
all the mortals betake themselves to bed. A brief reprise of the Wedding March makes 
way for the return of the fairies. As Oberon and Titania appear, we hear again the four 
woodwind chords that opened the overture; the fairies trip in to spread their music and 
charms throughout the house. 

Through this house give glimmering light, 

By the dead and drowsy fire, 

Every elf and fairy sprite 

Hop as light as bird from brier. 

And this ditty, after me, 

Sing, and dance it trippingly. 

First rehearse the song by rote, 
To each word a warbling note. 
Hand in hand, with fairy grace, 
Will we sing, and bless this place. 

Through this house give glimmering light, etc. 

Then, at Oberon's command, the fairies trip away, leaving Puck to take his leave of the 
audience to the final sounding of the four magical woodwind chords. 

— Steven Ledbetter 




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Pyotrllyich Tchaikovsky (1840-1893) 
Symphony No. 4 in F minor, Opus 36 

First performance: February 22, 1878, Moscow, Nikolai Rubinstein cond. First B SO per- 
formances: November 1896, Emil Paur cond. (but preceded by Arthur Nikisch's per- 
formances in October 1890 of the second and third movements). First Tanglewood per- 
formance: August 7, 1937, Serge Koussevitzky cond. Most recent Tanglewood performance: 
August 15, 2003, Neeme Jarvi cond. 

For Tchaikovsky, the Symphony No. 4 was a breakthrough work, a bounding creative 
leap beyond his first three symphonies. In scale, control of form, intensity, and ambition 
it towers above any symphonies previously produced by other Russian composers, most 

of whom shunned the symphonic form in favor of operas and 
programmatic works. Here, in one of the masterpieces of late 
Romanticism, Tchaikovsky combines his strong sense of the 
theatrical (already demonstrated in Romeo and Juliet, Francesca 
da Rimini, and Swan Lake) with a heightened mastery of 
orchestration and thematic development. 

The year of the composition of the Fourth Symphony — 
1877 — has been called the most fateful year in the composer's 
eventful and emotionally volatile life. It was in 1877 that he 
made the rash and ultimately tragic decision to marry Anto- 
nina Ivanovna Milyukova, a woman he barely knew. He did so 
(on July 18) in a panic-stricken attempt to conceal — or even overcome — his homosexual 
inclinations. 

Not surprisingly, given Tchaikovsky's lack of sexual interest in women and the un- 
balanced personality of Milyukova, the marriage ended in disaster. It lasted a mere two 




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months, at the end of which Tchaikovsky attempted suicide by walking into the frigid 
Moscow River in the hopes of contracting pneumonia. (Those who have seen Ken Rus- 
sell's film-bio of Tchaikovsky, The Music Lovers, will no doubt remember the scene.) 
Fleeing his wife and his botched attempt at a "normal" life, he escaped to St. Petersburg 
and then to Europe. It was there, far from the problems that awaited him in Russia, that 
he completed the Fourth Symphony, begun in the spring. From this time on, Tchaikov- 
sky restlessly divided his time between Russia and Europe, feeling entirely comfortable 
in neither. 

Milyukova was not the only woman in Tchaikovsky's life at the time. The other was 
Nadezhda von Meek, a wealthy widow so passionate about the composer's music that 
she became his patron, giving him large sums of money so he could continue composing 
without financial worries. At von Meck's insistence, however, they never met, and in- 
stead maintained a remarkable epistolary relationship. During the stressful period of his 
failed marriage, Tchaikovsky turned to von Meek for emotional and financial support. 
She did not fail him. In gratitude, Tchaikovsky dedicated to her his new Fourth Sym- 
phony, but anonymously, as they had agreed: "To my best friend." 

Not only did the composer dedicate the Fourth Symphony to von Meek. He also 
provided her with a detailed written description of its emotional program. "In our sym- 
phony there is a programme," he wrote, "i.e. it is possible to express in words what it is 
trying to say, and to you, and only to you, I am able and willing to explain the meaning 
both of the whole and of the separate movements." 

The symphony's "signature," and among the most famous music Tchaikovsky ever 
wrote, is its stunning, even alarming opening fanfare scored for brass and woodwinds. 
This introduction, Tchaikovsky told von Meek, "is the seed of the whole symphony, 

undoubtedly the main idea This is fate, this is the fateful force which prevents the 

impulse to happiness from attaining its goal It is invincible, and you will never over- 
come it. You can only reconcile yourself to it, and languish fruitlessly." This "fate" motif 
appears most prominently in the opening movement, but reappears dramatically in the 
finale. (Tchaikovsky would go even further in the Fifth Symphony, using a "signature" 
motif in all the movements.) In the finale, the "fate" motif grows (at measure 200) out 
of a folk song in a most ingenious and startling manner. 

If this fanfare represents thwarted happiness, then the stuttering waltz theme that 
follows in the first movement also reflects frustration, Tchaikovsky told von Meek. The 
theme is in 9/8 meter, which lends it a fluid and yet halting gait. "The cheerless and 
hopeless feeling grows yet stronger and more burning. Is it not better to turn away from 
reality and submerge yourself in daydreams?" These daydreams (remember that the title 
of Tchaikovsky's First Symphony was " Winter Daydreams") are reflected in the melan- 
choly, rising-and-falling theme given to the clarinet. 

Of the much shorter second movement (Andantino in modo di canzone), Tchaikov- 
sky said this: "This is that melancholy feeling which comes in the evening when, weary 
from your labor, you are sitting alone, you take a book — but it falls from your hand. 
There comes a whole host of memories. You both regret the past, yet do not wish to 

begin your life again. Life has wearied you It's sad and somehow sweet to immerse 

yourself in the past." 

The scherzo (pizzicato ostinato) offers respite from the emotional intensity of the 
outer movements. Constructed in classical, even Mozartian fashion, in three sections 
(ABA), this delicate and innovative confection is dominated by the strings, playing 
pizzicato, with a middle Trio section featuring a playful military- style theme in the 
brass and winds. 

A well-known Russian folk song ("A little birch tree stood in the field": "Vo polye 



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beryozinka stoyala") provides the central focus for the relatively brief but fiery final 
movement. (It's not labeled "Allegro con fuoco" — "Fast, with fire" — for nothing!) Some 
years earlier, Russian composer Mily Balakirev (1837-1910) had used the same folk 
song in his Overture on Three Russian Themes, but treated it very differently. Balakirev 
retained the circular free rhythmic structure of the tune, remaining faithful to the Rus- 
sian folk tradition. But Tchaikovsky, more of a "Westernizer," adds two beats after the 
first phrase, squaring the tune to fit into conventional 4/4 meter. By the finale's end, 
Tchaikovsky has whipped this innocent little tune into a tragic frenzy that culminates 
in the majestic reentry of the "fate" theme. 

"Hardly have you managed to forget yourself and to be carried away by the spectacle 
of others' joys, than irrepressible y#/£ again appears and reminds you of yourself," the 
composer wrote to von Meek about the finale. "But others do not care about you. They 
have not even turned around, they have not glanced at you, and they have not noticed 
that you are solitary and sad." 

Musicologists and biographers have long debated how accurately Tchaikovsky's over- 
heated description of the Fourth Symphony reflects its content. They do agree on one 
thing. The score, despite some flaws (excessive repetition, and what Russian composer 
Sergei Taneyev called an overuse of "ballet music") established Tchaikovsky as one of 
the masters of the symphonic form in Russia and elsewhere. 

— Harlow Robinson 




GUEST ARTISTS 

Heidi Grant Murphy 

Heidi Grant Murphy has appeared with many of the world's finest opera 
companies and symphony orchestras, on both sides of the Adantic, work- 
ing with such esteemed conductors as Herbert Blomstedt, Christoph 
Eschenbach, James Levine, Reinbert de Leeuw, Lorin Maazel, Kurt Masur, 
Kent Nagano, Seiji Ozawa, Sir Simon Rattle, Leonard Slatkin, Robert 
Spano, Jeffrey Tate, Michael Tilson Thomas, Edo de Waart, Christoph 
von Dohnanyi, David Zinman, Pinchas Zukerman, and the late Robert 
Shaw. Her Metropolitan Opera debut in the 1989 production of Die Frau 
ohne Schatten led to numerous roles in that house, notably Susanna in Le nozze di Figaro, 
Sophie in Der Rosenkava/ier, Pamina in Die Zauberflote, Sister Constance in Dialogues of the 
Carmelites, Servilia in La clemenza di Tito, and Nannetta in Falstajf. European highlights 
include the roles of Anne Truelove in the Netherlands Opera production of The Rakes 
Progress and Celia in Lucio Silla at both the Salzburg Festival and Frankfurt Opera, as well as 
Adina in L'elisir d'amore and Susanna at the Opera Nationale de Paris. During 2006-2007 
she appeared with the New York Philharmonic, Toronto Symphony, Hong Kong Philhar- 
monic, at Opera Nationale de Paris, at the Metropolitan Opera under James Levine, and at 
the Munich Festival. In spring 2007 she toured with the St. Lawrence String Quartet and 
pianist Kevin Murphy to premiere Songs from the Diaspora, a song cycle by Roberto Sierra 
commissioned by the Consortium Music Accord. The tour will continue in November of 
2007. In recent seasons, Ms. Murphy premiered Sierra's Missa Latina with the National 
Symphony Orchestra, as well as Augusta Read Thomas's Gathering Paradise with both the 
New York Philharmonic and Chicago Symphony Orchestra. In 2004 she joined the Boston 
Symphony Orchestra for James Levine's inaugural concerts as music director in Boston and 
at Carnegie Hall. Ms. Murphy's summers have brought her to the Ravinia and Tanglewood 
festivals, the Minnesota Orchestra's Sommerfest, the Bellingham Festival of Music, Rome 
Chamber Music Festival, the Hollywood Bowl with the Los Angeles Philharmonic, and the 
La Jolla Music Society's SummerFest. Ms. Murphy has recorded for Koch International, 
Arabesque, PS Classics, and Delos. She recorded Idomeneo (Ilia) and Le nozze di Figaro 



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(Barbarina) with James Levine for Deutsche Grammophon and the Grammy-nominated 
Sweeney Todd (Johanna) for the New York Philharmonic's private label. In 2006 she recorded 
Gathering Paradise with the New York Philharmonic for New World, a label intended to pre- 
serve the orchestra's recent premieres. Heidi Grant Murphy made her BSO debut in February 
1991 as a soloist in Mozart's Great C minor Mass; her most recent BSO appearances were 
atTanglewood last summer, as Zerlina in a July 2006 BSO concert performance of Mozart's 
Don Giovanni with James Levine conducting, and in August 2006 as soprano soloist in 
Mahler's Resurrection Symphony under Seiji Ozawa. 

Kristine Jepson 

Making her Boston Symphony Orchestra debut this evening, American 
mezzo-soprano Kristine Jepson has appeared at the Metropolitan Opera, 
Teatro alia Scala, Theatre Royal de la Monnaie, Opera National de Paris, 
Royal Opera-Covent Garden, Bavarian State Opera, Netherlands Opera, 
San Francisco Opera, Canadian Opera Company, Miami Opera, and 
Santa Fe Opera Festival, among other companies. Highlights of the cur- 
rent season include Idamante in Idomeneo at the Metropolitan Opera, the 
Composer in Ariadne aufNaxos and Octavian in Der Rosenkavalier at the 
SemperOper in Dresden, her debut at Seattle Opera as Sesto in Handel's Giulio Cesare, and 
a return to the SemperOper to portray Sister Helen in Jake Heggie's Dead Man Walking, a 
role she has also sung for San Francisco Opera, Pittsburgh Opera, and Michigan Opera. 
Engagements in 2005-06 season included Kitty in the world premiere of John Adams's Dr. 
Atomic at San Francisco Opera, her first performances of Charlotte in Werther for her debut 
with Frankfurt Opera, Idamante in Idomeneo at the Gran Teatro del Liceu in Barcelona, and 
the Composer in Ariadne aufNaxos at La Scala in Milan. Ms. Jepson made her Metropolitan 
Opera debut in Britten's Death in Venice and has since returned there as Stephano in Romeo et 
Juliette, Cherubino in Le nozze di Figaro (a role she has also sung in Washington and Dallas), 
Octavian, and the Composer. In the past two seasons she has appeared in two new produc- 
tions at the Metropolitan Opera under James Levine: as Ascanio in Berlioz's Benvenuto 
Cellini and as Siebel in Gounod's Faust. Further operatic credits include Dorabella in Cosifan 
tutte for the Royal Opera House-Covent Garden, Sesto in La clemenza di Tito at the Aix-en- 
Provence Festival, Adalgisa in Norma at Cincinnati Opera, Cecilio in Lucio Silla at Netherlands 
Opera, Judith in Bluebeard's Castle at Vancouver Opera, Rosina in II barbiere di Siviglia at 
New York City Opera, and Elizabeth in The Crucible at Washington Opera. Ms. Jepson has 
been a frequent guest in Santa Fe, where she has been heard as the Composer in Ariadne, as 
Sesto in La clemenza di Tito, and as Nero in Handel's Agrippina. Concert appearances have 
included Mozart's Mass in C minor, Mozart's Requiem at Carnegie Hall, Schumann's Das 
Paradis und die Peri at the Mostly Mozart Festival under Gerard Schwarz, and frequent 
appearances at the Cincinnati May Festival under James Conlon, most recently in Franz 
Liszt's rarely performed oratorio St. Stanislaus. Kristine Jepson was born in Iowa and com- 
pleted her musical studies at Indiana University. She resides in New York City and Santa Fe. 

Tanglewood Festival Chorus 
John Oliver, Conductor 

The Tanglewood Festival Chorus celebrated its thirty-fifth anniversary in 
the summer of 2005. This summer at Tanglewood the chorus performs 
with BSO Music Director James Levine in Mendelssohn's Midsummer 
Nights Dream music, Mahler's Symphony No. 3, Verdi's Don Carlo (a con- 
cert performance with the Tanglewood Music Center Orchestra), and 
Berlioz's Damnation of Faust, as well as Haydn's Mass in Time of War and 
Beethoven's Ninth Symphony (the latter also with the TMC Orchestra) 
with guest conductor Rafael Friihbeck de Burgos. They also perform their 
annual Friday Prelude Concert in Ozawa Hall (this year on July 27) and join James Levine 




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and the BSO for European tour performances, following the Tanglewood season, of Damnation 
of Faust in Lucerne, Essen, Paris, and London. The Tanglewood Festival Chorus was organ- 
ized in the spring of 1970, when founding conductor John Oliver became director of vocal 
and choral activities at the Tanglewood Music Center. Made up of members who donate 
their services, and originally formed for performances at the BSO's summer home, the 
Tanglewood Festival Chorus is now the official chorus of the Boston Symphony Orchestra 
year-round, performing in Boston, New York, and at Tanglewood. The chorus has also per- 
formed with the Boston Symphony Orchestra in Europe under Bernard Haitink and in the 
Far East under Seiji Ozawa. It can be heard on Boston Symphony recordings under Ozawa 
and Haitink, and on recordings with the Boston Pops Orchestra under Keith Lockhart and 
John Williams, as well as on the soundtracks to Clint Eastwood's Mystic River, Steven 
Spielberg's Saving Private Ryan, and John Sayles's Silver City. In addition, members of the 
chorus have performed Beethoven's Ninth Symphony with Zubin Mehta and the Israel 
Philharmonic at Tanglewood and at the Mann Music Center in Philadelphia, and participated 
in a Saito Kinen Festival production of Britten's Peter Grimes under Seiji Ozawa in Japan. In 
February 1998, singing from the General Assembly Hall of the United Nations, the chorus 
represented the United States in the Opening Ceremonies of the 1998 Winter Olympics 
when Mr. Ozawa led six choruses on five continents, all finked by satellite, in Beethoven's 




20 



.'■;.■'>"• 






Ode to Joy. The Tanglewood Festival Chorus gives its own Friday-evening Prelude Concert 
each summer in Seiji Ozawa Hall and performed its debut program at Jordan Hall at the 
New England Conservatory of Music in May 2004. 

In addition to his work with the Tanglewood Festival Chorus, John Oliver was for many 
years conductor of the MIT Chamber Chorus and MIT Concert Choir, and a senior lecturer 
in music at MIT. Mr. Oliver founded the John Oliver Chorale in 1977; has appeared as guest 
conductor with the New Japan Philharmonic and Berkshire Choral Institute; and has pre- 
pared the choruses for performances led by Andre Previn of Britten's Spring Symphony with 
the NHK Symphony in Japan and of Brahms's Ein deutsches Requiem at Carnegie Hall. He 
made his Boston Symphony conducting debut in August 1985 and led the orchestra most 
recendy in July 1998. 



■ 



Tanglewood Festival Chorus 
John Oliver, Conductor 

The Tanglewood Festival Chorus celebrated its 35th anniversary in 2005. In the following list, 
* denotes TFC membership of 35-37 years, # denotes members of 25-34 years. 



Sopranos 

Deborah Abel 
Triana Chez 
Anna S. Choi 
Saewon Lee Chun 
Sarah Dorfman Daniello 
Megan Errgong-Weider 
Bonnie Gleason 
Laura C. Grande 
Beth Grzegorzewski 
Ami Heusinkvelt 
Elisabeth Hon 
Mikhaela E. Houston 
Polina Dimitrova Kehayova 
Glenda Landavazo 
Charlotte Landrum 
Barbara Levy* 
Mariko Matsumura 



Ruthie Miller 
Margaret D. Moore 
Kimberly Pearson 
Melanie W. Salisbury 
Lori Salzman 
Johanna Schlegel 
Lisa Watkins 
Alison L. Weaver 
Stephannie Workman 

Mezzo-sopranos 

Virginia Bailey 
Laura Barker 
Martha A. R. Bewick 
Betsy B. Bobo 
Lauren A. Boice 
Ondine Brent 
Donna J. Brezinski 



Anna Callahan 
Elizabeth Clifford 
Katherine Barrett Foley 
Debra Swartz Foote 
Dorrie Freedman # 
Rachel Hallenbeck 
Jessica Hao 
Julie Hausmann 
Betty Jenkins 
Gale Livingston* 
Fumiko Ohara# 
Catherine Playoust 
Stephanie Rosch 
Kathleen Schardin 
Katherine Slater 
Cypriana V. Slosky 
Michelle Vachon 
Ana Withiam 



Felicia A. Burrey, Chorus Manager 
Meryl Adas, Assistant Chorus Manager 
Frank Corliss, Rehearsal Pianist 




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Tanglewood 

BOSTON SYMPHONY ORCHESTRA 

126th Season, 2006-2007 

Saturday, July 7, at 8:30 

LUDOVIC MORLOT conducting 

DVORAK Othello Overture, Opus 93 

TCHAIKOVSKY 




Variations on a Rococo Theme, Opus 33, 
for cello and orchestra 

LYNN HARRELL 



INTERMISSION 



TCHAIKOVSKY 



MUSSORGSKY/ 
RAVEL 



Pezzo capriccioso in B minor, Opus 62, 
for cello and orchestra 

Mr. HARRELL 

Pictures at an Exhibition 

Promenade 

Gnomus 

Promenade 

II vecchio castello 

Promenade — Tuileries 

Bydlo 

Promenade — Ballet of Chicks in their Shells 

Samuel Goldenberg and Schmuyle 

The Market at Limoges 

Catacombae. Sepulcrum Romanum 

Con mortuis in lingua mortua 

The Hut on Chicken Legs (Baba-Yaga) 

The Great Gate of Kiev 



State Street Global Advisors is proud to sponsor the 2007 Tanglewood season. 



Steinway and Sons Pianos, selected exclusively for Tanglewood 

Special thanks to Delta Air Lines and Commonwealth Worldwide Chauffeured Transportation 

In consideration of the performers and those around you, cellular phones, pagers, 
and watch alarms should be switched off during the concert 

Please do not take pictures during the concert. Flashes, in particular, are distracting to 
the performers and other audience members. 

Note that the use of audio or video recording equipment during performances in the 
Music Shed or Ozawa Hall is prohibited. 



23 



Weekl 



NOTES ON THE PROGRAM 

Antonin Dvorak (1841-1904) 
Othello Overture, Opus 93 

First performance: April 28, 1892, Prague, Orchestra of the National Theater, Dvorak 
cond. First BSO performances: February 1897, Emil Paur cond. First Tang/ewood perform- 
ance: August 18, 1967, Gunther Schuller cond. Most recent Tanglewood performance: July 
23, 2004, Hans Graf cond. 

Though it is heard far less often than its sibling overture Carnival \ Dvorak's Othello 
is an equally fine work. Indeed, Dvorak biographer John Clapham says that it is "surely 
the finest of the composer's overtures." It is the final panel of a trilogy that he had origi- 
nally conceived as a single work, to be published as Opus 91 
under the title Nature, Life, and Love, and that is how it was 
first performed. But Dvorak soon decided that it was useful 
to consider the overtures as three separate compositions, per- 
formable independently; in the end he published them with 
consecutive opus numbers — 91, 92, and 93. 

Dvorak, a highly religious man, wished to portray in his 
music three aspects of the divine life-giving force, which he 
called "Nature," aiming to show that it could both create and 
destroy fife. He linked the three works by inventing a theme 
that appears in all three of them, the "Nature" theme, which 
predominates in the first overture {In Natures Realm) and makes a brief appearance in 
the second {Carnival) in its original form, but which returns in Othello only in a some- 
what distorted shape to indicate that nature's force — love — is twisted by jealousy. 





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Othello begins as if it is going to be a sonata-form overture — a straightforward con- 
cert overture. A brooding introduction builds to aforzando outburst in the strings, 
introducing the "twisted" form of the "Nature" theme in flutes and clarinets: Othello's 
love has gone awry. The main Allegro con brio is dominated by a forceful theme repre- 
senting Othello's jealousy. Its characteristic triplet infects many other ideas as the score 
proceeds. Halfway through the score Dvorak interrupts any plan to shape the movement 
into a formal sonata pattern and yields to an impulse to trace the closing scene in dra- 
matic terms. In his own score he pencilled in certain comments that clarify his under- 
standing of the passage. The first of these, "They embrace in silent ecstasy," marks the 
beginning of the tragedy's closing stage. Soon after, Dvorak quotes Wagner's "magic 
sleep" motif from Die Walkiire, as an indication that Desdemona has fallen into slumber. 
Othello, contemplating her putative infidelity, is consumed with jealousy and rage; the 
triplets increasingly dominate the rhythmic texture. A quotation from Dvorak's own 
Requiem hints at what is in store for Desdemona. She dies to a reminiscence of their 
love music, chilled by string tremolos played sul ponticello. Aghast at what he has done, 
Othello prays (a brief chorale in the woodwinds). He recalls their love; the "magic sleep" 
is now a permanent sleep of death. Over a long crescendo in the timpani and double 
basses, the twisted "Nature" theme softly comments; Othello now turns his aggressive 
rage on himself and makes his own quietus. 

— Steven Ledbetter 






Pyotrllyich Tchaikovsky (1840-1893) 

Variations on a Rococo Theme, Opus 33, for cello and orchestra 

First performance: November 30, 1877, Moscow, Nikolai Rubinstein cond., Wilhelm 
Fitzenhagen (the work's dedicatee), soloist. First B SO (and first American) performances: 
October 1908, Max Fiedler cond., Alwin Schroeder, soloist. First Tanglewood perform- 
ance: August 18, 1974, Michael Tilson Thomas cond., Zara Nelsova, soloist. Most recent 
Tanglewood performance: August 3, 1990, Christoph Eschenbach cond., Steven Isserlis, 
soloist. 

Though one would never infer it from the music itself, Tchaikovsky wrote the 
Rococo Variations out of grievous depression: his fourth opera, Vakula the Smithy had 
just enjoyed what the composer called "a brilliant failure" at the Maryinsky Theater in 

St. Petersburg; his student, the composer and pianist Sergei 
Taneyev, reported from Paris that Jules-Etienne Pasdeloup 
had "shamefully bungled" Romeo and Juliet and that the work 
had therefore not pleased; Hans Richter had had no success 
with it in Vienna either, and Eduard Hanslick had written 
one of his most abusive reviews. All this happened within two 
weeks at the beginning of December 1876. But Tchaikovsky 
was learning to escape depression by work, and though ill 
with dyspepsia, he energetically pursued a project begun a 
couple of months earlier (and to be abandoned soon after), an 
opera based on Othello with a libretto by the critic Vladimir 
Stasov, and he rapidly composed the Rococo Variations for cello. 

These he wrote for his friend Wilhelm Karl Friedrich Fitzenhagen, then twenty- 
eight and for the past six years principal cellist of the orchestra of the Imperial Russian 
Music Society in Moscow and professor at the Conservatory. As already mentioned, 
Fitzenhagen intervened considerably in the shaping of "his" piece, and it is difficult to 
determine just how far his recomposition had Tchaikovsky's sanction. Fitzenhagen is 




25 



Weekl 






responsible for much of the detail of the cello part as it stands and he entered his 
changes in Tchaikovsky's autograph manuscript. Tchaikovsky, for his part, had certainly 
not made the situation clear to his publisher Pyotr Fiirgenson, for the latter wrote to 
him: "Bad Fitzenhagen wants to change your cello piece. He wants to cello' it up and 
claims you gave him permission. God!" Tchaikovsky seems, moreover, to have acqui- 
esced in Jurgenson's publication of the work as "revu et corrige" by Fitzenhagen — with 
piano in 1878 and in full score eleven years later. 

We can no longer reconstruct a Tchaikovskian "original" — if there ever was such a 
thing — behind the cello part as it now exists. As for the structure of the work, the 
ordering of its events, it is easy to imagine Tchaikovsky, always unconfident in matters 
of form, yielding to his German- trained friend. Whether he was right to do so is another 
question. His original ordering keeps all the variations in 2/4 together, with the some- 
what slower variation in D minor occurring in the middle of the series, and the one 
variation in a considerably slower tempo (Andante sostenuto), in a different meter (3/4), 
and in a more remote key (C major), is placed in the traditional spot for such an excur- 
sion, which is just before the finale. Whatever he may have said later, his design is more 
convincing than Fitzenhagens recension. 



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In the table below, the left-hand column shows Tchaikovsky's order, while the col- 
umn on the right shows where each section occurs in the standard edition: 



Tchaikovsky 

Introduction: Moderato assai quasi 

Andante— A— 2/4 
Theme: Moderato simplice — A — 2/4 
Var. I: Tempo della thema [sic] — A — 2/4 
Var. II: Tempo della thema — A — 2/4 
Var. Ill: Andante — D minor — 2/4 
Var. IV: Allegro vivo— A— 2/4 
Var. V: Andante grazioso — A — 2/4 
Var. VI: Allegro moderato — A — 2/4 
Var. VII: Andante sostenuto — C — 3/4 
Var. VIII and Coda: Allegro moderato 

con anima — A — 2/4 



Fitzenhagen 

Introduction (Moderato quasi 

Andante) 
Theme (Moderato semplice) 
Var. I (Tempo del tema) 
Var. II 
Var. VI 
Var. VII 
Var. IV 
Var.V 
Var. Ill 
Coda (35 measures missing 

altogether) 



What is beyond dispute (other than that the cellist's Italian is better than the com- 
poser's) is that Fitzenhagen enjoyed immense success with this grateful, gracious, and 
charming piece wherever he played it. Liszt's reaction at the Wiesbaden Festival in June 
1879 gave cellist and composer particular pleasure: "At last, music again," the elderly 
master had sighed. The theme, so far as we know, is Tchaikovsky's own. Its invention 
and what he builds upon it form one of the most warmhearted of his declarations of 
love to the eighteenth century. 

— Michael Steinberg 



Pyotr Ilyich Tchaikovsky 

Pezzo capriccioso, Concert piece for cello and orchestra, Opus 62 

First performance: (with piano accompaniment) February 18, 1888, at the Paris home of 
M.R Benardaky, Anatoly Brandukov, soloist, Tchaikovsky, piano; (orchestral version) 
November 25, 1889, Russian Musical Society, Tchaikovsky cond., Anatoly Brandukov, 
soloist. This is the first performance by the Boston Symphony Orchestra. 

Tchaikovsky was visiting one of his brothers in the Caucasus Mountains during the 
summer of 1887 when he was called to the bedside of his friend, Nicholas Kondratiev, 

who was dying in Aachen, Germany. Kondratiev had syphilis 
and had gone to Germany in hope that the mineral springs 
there would help create at least a short remission of his illness. 
Tchaikovsky arrived there only to find that the situation had 
not improved; he stayed to support both Kondratiev and those 
who had been nursing him. In Aachen, Tchaikovsky was able 

Kto compose, although he was strongly affected by the invalid's 
moods. When he finished his Mozartiana Suite, he insisted to 
Kondratiev's wife that a blood relative would have to replace 
him as nurse. In mid- August he journeyed to Paris to visit 
another friend. This second friend, the young Russian Anatoly 
Brandukov, was the cellist to whom Tchaikovsky dedicated the Pezzo capriccioso. 

The Italian title Pezzo capriccioso means something like "whimsical piece"; it is some- 
what repetitiously sub tided in French as "Morceau de concert" ("small concert piece"). The 
piece could not escape being an outiet for the suffering and stressful circumstances Tchai- 
kovsky had recendy endured; he composed it very rapidly, in just one week. Upon com- 




27 



Weekl 



pleting it, he wrote to Brandukov: "I have written a small cello piece and would like you 
to look through it, and put the final touches to the cello part." He began the piano score 
two days later and began orchestrating it a week after that. 

In the beginning of September, Tchaikovsky began his journey back to Russia; he 
wrote again to Brandukov, but this time with a conflicting report: "I did not manage to 
finish the piece at Aachen. I shall put it aside until I can confer with you in St. Peters- 
burg, or when we meet in Moscow," adding "I think the piece has turned out rather 
poorly." When he arrived in St. Petersburg, he sent his publisher the finished work in 
two forms — one for cello and piano as well as a full score for orchestra. He requested 
that the publisher send the piano version to Brandukov's teacher, Wilhelm Fitzenhagen, 
who had advised Tchaikovsky on his Variations on a Rococo Theme, asking Fitzenhagen 
to make any necessary suggestions, and adding that "This piece is the single fruit of my 
musical spirit from the whole summer." Brandukov and Fitzenhagen both contributed 
suggestions, which they felt would make the cello part more idiomatic and smoother. 

The Pezzo capricciosds changing moods may have been intended to be whimsical or 
capricious, yet it is likely that " capriccioso" mostly refers to the way Tchaikovsky handles 
the single theme of the work. Throughout, the feeling is basically melancholy and the 
tempo rather slow (Andante con moto). Tchaikovsky gave it the same key, B minor, as 
his Pathetique Symphony, and the insertion of some quick passages as well as modula- 
tions into D major, then C major, before the rather abrupt return to B minor, do, indeed, 
also seem capricious. 

Jurgenson published the Pezzo capriccioso, the composer s last completed work for 
solo instrument and orchestra, in 1888; the orchestral parts were published in January, 
preceding the arrangement for cello and piano by two months. The full score's publica- 
tion was delayed because Tchaikovsky had taken the manuscript abroad and did not 
return it to his publisher until May 1888. The full score was released in July 1888. 

The work has a charming sense of vigor, although it begins rather darkly with a 
scalar ascent above a stepwise descending bass, which Tchaikovsky uses as a recurring 
feature. The main theme, a graceful, lyrical melody, is mostly placed in the cello's middle 
register. Eric Blom notes that this theme is a "kind of song-without-words tune" that 
does not become too sentimental because it is too "graceful for that in a wistful sort of 
way." Actually, the theme also soon transforms into passagework, as "Pezzo" means a 
"piece for display of skill as well as feeling." In the work's central portion, the soloist 
journeys to completely new thematic territory which has a scherzo-like quality, but the 
descending line remains and continues to be the most prominent feature of the bass line. 
Toward the end of the section, the orchestra has short, stepwise ascending lines against 
the cello's persistent moving figures, and then the opening theme returns before the 
piece ends energetically with the scherzo material interjecting itself. 

— Susan Halpern 

Modest Mussorgsky (1839-1881) 

Pictures at an Exhibition (orchestrated by Maurice Ravel) 

First performance of Ravels orchestral transcription: October 22, 1922, Paris, Serge Kousse- 
vitzky cond. First Boston Symphony (and first American) performances: November 1924, 
Koussevitzky cond. First Tanglewood performance: August 10, 1939, Koussevitzky cond. 
Most recent Tanglewood performance of Ravels version: August 22, 1998, Charles Dutoit 
cond. Most recent Tanglewood performance (as orchestrated by Sergei Gorchakov): July 5, 
2003, Kurt Masur cond. 

It was Ravel, the Frenchman, who told Koussevitzky, the Russian, about these fasci- 



28 




nating pieces and fired his enthusiasm. The'Pictures were quite unknown then, and 
Mussorgsky's publisher, Bessel, had so little faith in them that they stipulated that 
Ravel's transcription be for Koussevitzky's personal use only since there was clearly 
nothing in it for them. The Mussorgsky/Ravel Pictures quickly became a Koussevitzky 

specialty, and his frequent and brilliant performances, espe- 
cially his fantastic 1930 recording with the Boston Symphony, 
turned the work into an indispensable repertory item. 

What would particularly have pleased Ravel is that the 
popularity of "his" Pictures at an Exhibition led pianists to 
rediscover Mussorgsky's. In transcribing the Pictures Ravel had 
been anticipated by M. Tushmalov as early as 1891 and by 
Sir Henry J. Wood in 1920, and then there were, during the 
period Ravel's version was available only to Koussevitzky, 
Leonidas Leonardi ("whose idea of the art," remarked a con- 
temporary critic, "is very remote"), Lucien Cailliet, and Leo- 
pold Stokowski — not to forget the electronic version by Tomita, the rock one of Emerson, 
Lake & Palmer, or the orchestral version by Vladimir Ashkenazy* Ravel's edition is the 
time-tested survivor, and for good reason: his is Mussorgsky's peer, and his transcription 
stands as the model of what we would ask in probity, technical brilliance, fantasy, imagi- 
native insight, and concern for the name linked with his own. 

The Pictures are "really" Victor Hartmann's. He was a close and important friend to 
Mussorgsky, and his death at only thirty- nine in the summer of 1873 was an occasion 
of profound and tearing grief for the composer. The critic Stasov organized a posthu- 
mous exhibition of Hartmann's drawings, paintings, and architectural sketches in St. 
Petersburg in the spring of 1874, and by June 22, Mussorgsky, having worked at high 
intensity and speed, completed his tribute to his friend. He imagined himself "roving 
through the exhibition, now leisurely, now briskly in order to come close to a picture 
that had attracted his attention, and at times sadly, thinking of his departed friend." The 
roving music, which opens the suite, he calls "Promenade," and his designation of it as 
being "nel modo russico" is a redundancy. 

Gnomus: According to Stasov, "a child's plaything, fashioned, after Hartmann's design 
in wood, for the Christmas tree at the Artists' Club. . . It is something in the style of the 
fabled Nutcracker, the nuts being inserted into the gnome's mouth. The gnome accom- 
panies his droll movements with savage shrieks." 

II vecchio castello (The Old Castle): There was no item by that title in the exhibi- 
tion, but it presumably refers to one of several architectural watercolors done on a trip 
of Hartmann's to Italy. Stasov tells us that the piece represents a medieval castle with 
a troubadour standing before it. Ravel decided basically to make his orchestra the size 
of the one Rimsky-Korsakov used in his edition of his opera Boris Godunov, the most 
famous of earlier orchestrations of Mussorgsky, but not, alas, as honorable as Ravel's. He 
went beyond those bounds in adding percussion and, most remarkably, in his inspired 
use of the alto saxophone here. In this movement, Ravel makes one of his rare composi- 
tional changes, adding an extra measure of accompaniment between the first two phrases 
of the melody. 

Tuileries: The park in Paris, swarming with children and their nurses. Mussorgsky 
reaches this picture byway of a Promenade. 

Bydlo: The word is Polish for cattle. Mussorgsky explained to Stasov that the picture 



*One of the more unnecessary transcriptions of Pictures at an Exhibition — or of anything else — is that 
by Vladimir Horowitz, who made a new version for piano! 



29 



Weekl 



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represents an ox-drawn wagon with enormous wheels, but adding that "the wagon is not 
inscribed on the music; that is purely between us." 

Ballet of Chicks in their Shells: A costume design for a ballet, Trilby, with choreogra- 
phy by Petipa and music by Gerber, and given in St. Petersburg in 1871 (no connection 
with George du Maurier's famous novel, which was not published until 1893). A scene 
with child dancers was de rigueur in a Petipa spectacular. Here we have canaries "enclosed 
in eggs as in suits of armor, with canary heads put on like helmets." The ballet is pre- 
ceded by a short Promenade. 

Samuel Goldenberg and Schmuyle: Mussorgsky owned two drawings by Hartmann 
entitled "A rich Jew wearing a fur hat" and "A poor Jew: Sandomierz." Hartmann had 
spent a month of 1868 at Sandomierz in Poland. Mussorgsky's manuscript has no title, 
and Stasov provided one, "Two Polish Jews, one rich, one poor," and he seems later to 
have added the names of Goldenberg and Schmuyle. Another small alteration here: 
Mussorgsky ends with a long note, but Ravel has his Goldenberg dismiss the whining 
Schmuyle more abruptly. 

The Market at Limoges: Mussorgsky jots some imagined conversation in the margin 

of the manuscript: "Great news! M. de Puissangeout has just recovered his cow Mme. 

de Remboursac has just acquired a beautiful new set of teeth, while M. de Pantaleon's 
nose, which is in his way, is as much as ever the color of a peony." With a great rush of 
wind, Mussorgsky plunges us directly into the 

Catacombae. Sepulcrum Romanum: The picture shows the interior of catacombs in 
Paris with Hartmann, a friend, and a guide with a lamp. Mussorgsky adds this marginal 
note: "The creative spirit of the dead Hartmann leads me towards skulls, apostrophizes 
them — the skulls are illuminated gently from within." 

Con mortuis in lingua mortua (Among the dead in the language of the dead): A 



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ghostly transformation of the Promenade, to be played "con lamento." 

The Hut on Chicken Legs: A clock in 14th-century style, in the shape of a hut with 
cock's heads and on chicken legs, done in metal. Mussorgsky associated this with the 
witch Baba-Yaga, who flew about in a mortar in chase of her victims. 

The Great Gate of Kiev: A design for a series of stone gates that were to have re- 
placed the wooden city gates, "to commemorate the event of April 4, 1886." The "event" 
was the escape of Tsar Alexander II from assassination. The gates were never built, and 
Mussorgsky's majestic vision seems quite removed from Hartmann's plan for a structure 
decorated with tinted brick, with the Imperial eagle on top, and, to one side, a three- 
story belfry with a cupola in the shape of a Slavic helmet. 

— Michael Steinberg 

GUEST ARTISTS 

Ludovic Morlot 

The French musician Ludovic Morlot has been assistant conductor of the 
Boston Symphony Orchestra since the fall of 2004. He made his BSO 
debut in April 2005 with a subscription program of music by Messiaen, 
Saint-Saens, and Franck, and led the orchestra twice during the 2006 
Tanglewood season: in July in a program of Berlioz, Beethoven, George 
Perle, and Ravel, and then in August, substituting at short notice for 
Rafael Friihbeck de Burgos, taking over a program of Turina, Falla, 
Debussy, and Ravel. He made his Tanglewood debut in 2001 leading the 
world premiere of the Tanglewood Music Center's 2001 Fromm Commission, Robin de 
Raaff 's Piano Concerto, in that summer's Festival of Contemporary Music. In 2006-07, 
Mr. Morlot makes his debut with the Rotterdam Philharmonic and returns to the Chicago 
Symphony Orchestra, the Orchestra Ensemble Kanazawa in Japan, and the Ensemble 
InterContemporain in Paris. Future seasons include engagements with the Deutsches Staats- 
oper Berlin as assistant to Daniel Barenboim, with the Orchestre de la Suisse Romande, and 
with the Seoul Philharmonic. In 2005-06 he made critically acclaimed debut appearances 
with the New York Philharmonic, the Baltimore Symphony, the Chicago Symphony (on 
the latter's contemporary music series "Music Now"), and the Orchestre Philharmonique de 
Radio France. Other recent engagements have included the New World Symphony Orches- 
tra and the Orchestra Ensemble Kanazawa (both in Japan and at the Schleswig-Holstein 
Festival in Germany). Ludovic Morlot has maintained a close working relationship with the 
Boston Symphony Orchestra since he was the Seiji Ozawa Fellowship Conductor at the 
Tanglewood Music Center in 2001. As well as conducting the orchestra in public concerts, 
his work as an assistant has included the much-heralded concert performances in Boston and 
New York of Debussy's Pelleas et Melisande under Bernard Haitink. He also assisted with the 
Paris production of Schoenberg's Erwartung and Poulenc's La Voix humaine with Jessye 
Norman. Trained as a violinist, Ludovic Morlot studied conducting as a pupil of the late 
Charles Bruck at the Pierre Monteux School in Hancock, Maine. He furthered his studies 
at the Royal Academy of Music in London under Sir Colin Davis, and then at the Royal 
College of Music as recipient of the Norman Del Mar Conducting Fellowship. From 2002 
to 2004 he was conductor-in-residence with the Orchestre National de Lyon under David 
Robertson. Ludovic Morlot appeared most recently with the Boston Symphony Orchestra 
leading subscription concerts in October 2006 (with Lynn Harrell as soloist). 



32 



EBii 







Lynn Harrell 

A consummate soloist, chamber musician, recitalist, conductor, and 
teacher, cellist Lynn Harrell performs regularly with the major ensembles 
of Boston, Chicago, Los Angeles, New York, Philadelphia, Dallas, 
London, Munich, Berlin, and Israel, collaborating regularly with such 
noted conductors as James Levine, Sir Neville Marriner, Kurt Masur, 
Zubin Mehta, Andre Previn, Sir Simon Rattle, Leonard Slatkin, Yuri 
Temirkanov, Michael Tilson Thomas, and David Zinman. His work 
throughout the Americas, Europe, and Asia has placed him in the highest 
echelon of today's performing artists. Mr. Harrell has toured extensively to Australia, New 
Zealand, and the Far East, including Japan, Korea, Taiwan, and Hong Kong. In the summer 
of 1999 he was featured in a three-week "Lynn Harrell Cello Festival" with the Hong Kong 
Philharmonic. In recent seasons he has particularly enjoyed collaborating with violinist 
Anne-Sophie Mutter and pianist Andre Previn; in January 2004 the trio performed the 
Beethoven Triple Concerto with Kurt Masur and the New York Philharmonic. Summer 
music festivals represent an important part of Lynn Harrell's life, including regular appear- 
ances at the Verbier Festival in Switzerland. For many years, he also taught and performed 
at the Aspen Music Festival. Highlights of his extensive discography include the Bach cello 
suites (London/Decca), the world-premiere recording of Victor Herbert's Cello Concerto 
No. 1 with the Academy of St. Martin in the Fields led by Marriner (London/Decca), the 
Walton Concerto with Rattle and the City of Birmingham Symphony Orchestra (EMI), and 
Donald Erb's Cello Concerto with Slatkin and the Saint Louis Symphony (New World). 
Together with Itzhak Perlman and Vladimir Ashkenazy, Mr. Harrell was awarded two 
Grammy Awards — for the Tchaikovsky Piano Trio and for the complete Beethoven Piano 
Trios (both Angel/EMI). Most recently he recorded Tchaikovsky's Rococo Variations for cello 
and orchestra with Gerard Schwarz and the Royal Liverpool Philharmonic (Classico). As an 
educator, Lynn Harrell held the International Chair for Cello Studies at, and was later head 
of, the Royal Academy in London, and was artistic director of the orchestra, chamber music, 
and conductor training program at the Los Angeles Philharmonic Institute. He has also 
given master classes at the Verbier and Aspen festivals and in major metropolitan areas 
throughout the world. Since the start of the 2002-03 academic year, he has taught cello at 
Rice University's Shepherd School of Music. Lynn Harrell was born in New York to musi- 
cian parents. He began his musical studies in Dallas and attended the Juilliard School and 
the Curtis Institute of Music. The recipient of numerous awards, including the first Avery 
Fisher Award, he plays a 1720 Montagnana and makes his home in Houston, Texas. Mr. 
Harrell made his Boston Symphony Orchestra debut in November 1978 and has since 
appeared frequendy with the orchestra both in Boston and at Tanglewood, most recently for 
subscription concerts under Ludovic Morlot's direction in October 2006. 



I 




33 



RIKnHp 




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Tanglewood 

BOSTON SYMPHONY ORCHESTRA 

126th Season, 2006-2007 

Sunday, July 8, at 2:30 
ANDRE PREVIN conducting 

TCHAIKOVSKY Romeo and Juliet, Fantasy- Overture after Shakespeare 

RACHMANINOFF Piano Concerto No. 1 in F-sharp minor, Opus 1 

Vivace 
Andante 
Allegro vivace 

JEAN-PHILIPPE COLLARD 



INTERMISSION 



PROKOFIEV 



Music from the ballet Romeo and Juliet 

Introduction 

Montagues and Capulets (Suite 2, No. 1) 

Juliet the Young Girl (Suite 2, No. 2) 

Dance (Suite 2, No. 4) 

Masks (Suite 1, No. 5) 

Romeo and Juliet (Suite 1, No. 6) 

The Death of Tybalt (Suite 1, No. 7) 

Romeo at Juliet's Tomb (Suite 2, No. 7) 



State Street Global Advisors is proud to sponsor the 2007 Tanglewood season. 



Steinway and Sons Pianos, selected exclusively for Tanglewood 

Special thanks to Delta Air Lines and Commonwealth Worldwide Chauffeured Transportation 

In consideration of the performers and those around you, cellular phones, pagers, 
and watch alarms should be switched off during the concert 

Please do not take pictures during the concert. Flashes, in particular, are distracting to 
the performers and other audience members. 

Note that the use of audio or video recording equipment during performances in the 
Music Shed or Ozawa Hall is prohibited. 



35 



Weekl 



NOTES ON THE PROGRAM 

Pyotrllyich Tchaikovsky (1840-1893) 

Romeo and Juliet, Fantasy- Overture after Shakespeare 

First performance of original version: March 16, 1870, Moscow; of revised version: 
February 17, 1872, St. Petersburg; of "final version. -May 1, 1886,Tblisi. First B SO per- 
formances: February 1890, Arthur Nikisch cond. First Tanglewood performance: July 21, 
1957, Charles Munch cond. Most recent Tanglewood performance: July 13, 2003, Kurt 
Masur cond. 

Pyotr Ilych Tchaikovsky's Romeo and Juliet strives to condense a five-act tragedy 
of supreme verbal and dramatic density into a "fantasy-overture" lasting only eighteen 
minutes. Tchaikovsky does not supply an exact program for this piece, which he com- 
pleted in 1869 (at twenty-nine) and subsequently revised 
twice, in 1870 and in 1880. Instead he focuses on the main 
idea of hostility between the warring Montagues and Capulets, 
and the soaring "star-crossed" passion of the young lovers. 
Nor does the music contain any reference to the local color 
of Italian Verona. It begins with a lengthy slow introduction, 
in the manner of a prelude or invocation, somber and fore- 
boding; harp arpeggios add a sense of dreamy historical dis- 
tance. Suddenly, the key changes to B minor and the mood 
becomes agitated with the entrance of what one might call 
the "feuding theme." The great love theme, introduced by the 
English horn, is heavy with yearning and sensuality, an irresistible tune that has been 
endlessly recycled in popular songs (e.g., "Our love is like a melody," recorded by Frank 
Sinatra) and movie scores. Tchaikovsky continues to develop these vibrant musical 
ideas, ending with a plaintive restatement of the love theme against timpani sounding 
a funereal beat. 

When the high-strung and hypersensitive Tchaikovsky chose particular pieces of 
literature to set to music, he usually read himself into the leading characters and their 
predicaments. (He was especially fond of stories involving unrequited or tragic love, 
such as Pushkin's Eugene Onegin and Queen of Spades, which he turned into operas.) 
Romeo and Juliet seems to have been no exception. The passionate immediacy of the 
"fantasy-overture" was stimulated in part by the recent personal experience of a love 
affair gone bad. For Tchaikovsky, a homosexual living a highly conflicted and secretive 
private life in socially conservative Tsarist Russia, such experiences were doubly painful 
because they had to be concealed and — in a certain sense — denied. Recent research by 
Alexander Poznansky proposes that the amour was Eduard Zak, who was fifteen years 
old (about the same age as the title characters!) at the time Romeo and Juliet was com- 
posed. A few years later, in 1873, Zak committed suicide — just as Romeo and Juliet do 
in the play's final scene. 

— Harlow Robinson 




Sergei Rachmaninoff (1873-1943) 

Piano Concerto No. 1 in F-sharp minor, Opus 1 

First performance: (original version; first movement only) March 29, 1892, Moscow 
Conservatory, Vasily Safonov cond., Rachmaninoff, soloist; (revised score) New York, 
January 28, 1919, Russian Symphony Orchestra, Rachmaninoff, soloist. First Boston 
Symphony performances: (original version) December 1904/January 1905, Wilhelm 



36 




Gericke cond., Carlo Buonamici, soloist; (revised version) November/December 1978, 
Seiji Ozawa cond., Lydia Artymiw, soloist. This is the first Tanglewood performance of 
Rachmaninoff's Piano Concerto No. 1. 

Rachmaninoff first came to the United States in 1909, for which occasion he com- 
posed his Third Piano Concerto in D minor. His reputation as pianist, conductor, and 

composer was secure, and his fame rested to a great extent on 
the success of two of his works, the C-sharp minor piano 
prelude, and the Second Piano Concerto in C minor, which 
he had composed in 1901. Rachmaninoff was never to escape 
the popularity of the prelude — audiences called for it wherev- 
er he went — and he was even to consider the demand for the 
Second and Third concertos something of a hindrance. "I 
have rewritten my First Concerto," he stated in 1931. "It is 
really good now. All the youthful freshness is there, and yet it 
plays itself so much more easily. But nobody pays any atten- 
tion. When I tell them in America that I will play the First 
Concerto, they do not protest, but I can see by their faces that they would prefer the 
Second or Third." 

Rachmaninoff wrote his First Concerto while he was a student at the Moscow Con- 
servatory. An attempt at a C minor piano concerto in November 1889 had come to 
nothing, and other works intervened, but by April 1891 he had completed the first two 
movements of the F-sharp minor. He finished the piece on summer holiday in 1891, in 
a flurry of activity, working from five in the morning until eight in the evening, compos- 
ing the final movement and scoring the last two movements in the space of two and a 
half days. The effort left him tired but pleased. In March 1892 a concert of student 
works at the Moscow Conservatory provided the occasion for the premiere of the con- 
certo, albeit just the first movement. The conductor, Vasily Safonov, professor of piano 
and director of the Conservatory, was notorious for making changes in the pieces to be 
performed on these occasions, cleaning them up, cutting them, anything to make them 
more playable. But Rachmaninoff held his ground, not only refusing to accept alter- 
ations, but even correcting Safonov's tempos and shadings when the conductor's ideas 
differed from his own. 

By 1908, however, Rachmaninoff's attitude toward his First Concerto had changed. 
By this time his works included the Second Concerto, numerous pieces for piano and 
voice, chamber, choral, and operatic works, and two symphonies (although it should be 
noted that the First had been a dreadful failure at its premiere in 1897, such a failure, in 
fact, that the composer submitted to hypnosis and autosuggestion to set his composi- 
tional juices flowing properly again). His appearances were in demand both at home 
and abroad, and he no longer considered the F-sharp concerto a suitable touring piece. 
Thoughts of revising the work came as early as April 1908: "Now I plan to take my 
First Concerto in hand tomorrow, look it over, and then decide how much time and 
work will be required for its new version, and whether it's worth doing anyway. There 
are so many requests for this concerto, and it's so terrible in its present form, that I 
should like to work at it and, if possible, get it into decent shape. . ." 

But composing, performing, and traveling kept Rachmaninoff from the revision until 
November 1917, in the aftermath of the Russian Revolution, and at which time regular 
musical activities had been suspended until a return to normal conditions. At odds with 
the new regime, feeling his career at a standstill, the composer seized upon an invitation 
to appear in Stockholm, and just before Christmas of 1917, he and his family left Russia, 
never to return. Rachmaninoff had previously rejected offers to stay in America (he had 



is 



37 



Weekl 



turned down the conductorship of the Boston Symphony Orchestra in 1909 and again 
in 1918), but he decided at the end of the 1920-21 musical season to make New York 
City his home. He remained a resident of the United States, recording and touring on 
both sides of the Atlantic, and also continuing to compose, until his death in 1943. 

"It will have to be written all over again, for its orchestration is worse than its 
music," Rachmaninoff said of the F-sharp minor's original version, and his changes are 
concerned with matters of instrumentation, texture, and structure, the thematic content 
remaining basically what it was. The final product is tight, concise, even classical in 
form, and the thematic recurrences are on the whole quite regular. The orchestral and 
piano writing is considerably thinned out. The balance between tune and figuration in 
the piano's initial statement of the first-movement theme represents an alteration of an 
alteration, for Rachmaninoff changed this passage first during the initial revision, then 
in the pre-publication proofs. In the second movement, the composer lightened the tex- 
ture and added touches of chromaticism. In the final form of the third movement, the 
fortissimo opening is new, and a prominent return of the main theme near the end is 
omitted. 

The first movement of the F-sharp minor concerto opens Vivace, with the "youthful 
freshness" of the composer immediately apparent. The cascading triplets for piano 
which separate the introductory fanfares provide the basis for connective and transition- 
al material later in the movement. The main theme sounds espressivo, then dolce , the sec- 
ond theme cantabile, Rachmaninoff's markings ensuring the mood (as if the tunes them- 
selves would not). The principal theme achieves its particular romantic, open quality 
through an immediate, sequential repetition of its opening measures. The second theme, 
reached by a vivace, scherzando passage, is at once insistent and halting, the lingering 
fourth note of the tune offsetting the rhythmic charge of the first three. The develop- 
ment makes much of the second theme's opening motive, and the working out of the 




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main theme is preceded by its appearance in the solo horn. The broad horn calls that 
sound early on in the development are straight out of Tchaikovsky, whom the student 
Rachmaninoff idolized. The main theme, at the recapitulation, is heard moderato and 
cantabile in the piano, its original upbeat restored, and the second theme's return is 
made striking by a touch of solo violin. The movement's opening fanfare returns in the 
piano to announce the cadenza, which concludes with a sweeping, maestoso statement of 
the principal theme. 

The prevailing calm of the D major second movement is established by an ascending 
motive first heard in the solo horn, that most romantic of all instruments. A piano epi- 
sode offers an espressivo (again!) theme which does not appear elsewhere in the move- 
ment, and the ascending horn motif, more intense, sounding a third higher than at the 
start, brings in the main part of the movement, with piano filigree weaving through the 
orchestral texture. A rustling woodwind accompaniment is heard just before the close, 
which is again marked by solo horn. 

As noted earlier, the fortissimo opening of the third movement is new. The finale is 
for the most part all energy, rhythm, and drive, punctuated by moments suggesting 
dance, and even jazz, though Rachmaninoff would have known none at the time. Two 
principal themes are introduced. When they reappear after a central, lyrical episode — 
which contains yet another of those plaintive, winding string melodies that Rachmaninoff 
seems to have endlessly available — the first is recapitulated outright, the second only 
suggested by the intervallic swellings of winds and brass. The emotional plane of the 
lyrical episode just mentioned is as far from the main world of the movement as its key, 
E-flat major, is remote from the concerto's home F-sharp minor, and through this inter- 
lude the piano is suitably distant and restrained. But for the most part, the orchestra in 
this movement accedes to the piano's demands (though somewhat grudgingly at one 
point), and the soloist leads the way to the bright, Allegro vivace, F-sharp major close. 

—Marc Mandel 



IB 

I 



Sergei Prokofiev (1891-1953) 
Music from the ballet Romeo and Juliet 

Stage premiere of the ballet. December 30, 1938, Brno, Czechoslovakia (the Russian pre- 
miere following only on January 11, 1940, Kirov Theatre, Leningrad). First B SO per- 
formances (and first U.S. performances) of music from the ballet: March 1938, Prokofiev 
cond. First Tanglewood performance of music from the ballet: August 7, 1948, Serge 
Koussevitzky cond. Most recent Tanglewood performance of music from the ballet August 
13, 2004, Gianandrea Noseda cond. 

The plays of William Shakespeare — especially the tragedies — have long been popu- 
lar in Russia. Among their admirers have been numerous composers. Romeo and Juliet 
inspired both Tchaikovsky (in his Fantasy-Overture) and Sergei Prokofiev (in his full- 
length ballet), while Soviet composer Dmitri Shostakovich turned repeatedly to Hamlet 
and King Lear, producing incidental music for several stage productions and scores for 
Grigori Kozintsev's classic film versions. 

Prokofiev, too, found frequent inspiration in Shakespeare. In 1933-34 he produced 
incidental music for a production called "Egyptian Nights," a strange potpourri based 
on Anto?iy and Cleopatra staged by experimental director Alexander Tairov at his 
Moscow Chamber Theater. Later, in 1937-38, he wrote incidental music for a celebrated 
and controversial Leningrad production of Hamlet, whose theme of guilt and regicide 
resonated deeply with Soviet audiences living through Stalin's purges. The idea of creat- 
ing a ballet out of Romeo and Juliet originally came from the Soviet stage director Sergei 



39 



Weekl 




Radlov (1892-1958), an important figure in the Russian theatrical avant-garde both 
before and after the 1917 Revolution. Radlov was also very familiar with Prokofiev's 
music, since he had staged the first Russian production of Prokofiev's opera Love for 
Three Oranges in 1926 in Leningrad. Noted for his adventurous productions of contem- 
porary opera, Radlov directed the Russian premiere of Berg's 
Wozzeck at the Mariinsky Theatre, where he served as artis- 
tic director from 1931 to 1934. He also staged several plays 
of Shakespeare at his own dramatic theater in the early 
1930s, including Romeo and Juliet in 1934. 

Originally, Radlov and Prokofiev were planning to stage 
Romeo and Juliet at the Mariinsky (later known as the Kirov 
Theatre). But in one of the many political storms that beset 
S^"' the theater during the Soviet era, Radlov lost his position 

ifa\ £?^ there in the aftermath of the assassination of the Leningrad 
Wk 15 .£- ■ Communist Party boss Sergei Kirov in December 1934. Still 

continuing to work with Radlov as librettist, Prokofiev signed a new contract (also later 
broken) for the ballet with the Bolshoi Theatre in Moscow. At the time, Prokofiev was 
living a peripatetic and nomadic life, commuting between Paris (where his wife and two 
sons still lived) and Russia, with frequent trips to the United States. Only in early 1936 
did he make the fatal decision to settle his family permanently in an apartment in 
Moscow. 

Preparing for this final move back to his homeland, Prokofiev spent the spring, sum- 
mer, and early fall of 1935 in the USSR. Despite the increasingly repressive political 
and ideological atmosphere to which he seems to have paid remarkably little attention, 
this was a period of apparently happy productivity, his chief project being Romeo and 
Juliet. In fact Prokofiev worked with incredible speed, as he did when genuinely in- 
spired. Act II was completed on July 22, 1935, Act III on August 29, and the entire 
piano score by September 8, after less than five months of work. In October he began 
the orchestration, working at top speed, producing the equivalent of about twenty pages 
of full score each day. But the planned Bolshoi production failed to take place, and no 
other theater came forth to take on the project. 

Frustrated, Prokofiev created two orchestral suites from the ballet's music in late 
1936. These were performed soon afterwards in Russia, representing one of the few 
instances in dance history when a ballet's music was heard in concert form before being 
staged. The stage premiere of the full-length ballet eventually took place not in Russia, 
but in Brno, Czechoslovakia, with choreography by Ivo Psota, who also danced the role 
of Romeo. The first Russian production at the Kirov Theatre in Leningrad was choreo- 
graphed by Leonid Lavrovsky. Galina Ulanova scored one of her greatest successes in 
the role of Juliet. The story line of the Kirov version had been stitched together by four 
authors: Radlov, Prokofiev, Lavrovsky, and critic/playwright Adrian Piotrovsky. Not sur- 
prisingly, the repeated revision of the scenario produced what critic Arlene Croce has 
called a "dramaturgical nightmare." 

The original scenario (later altered) changed the play's ending to a happy one. Rad- 
lov and Prokofiev had Romeo arrive later than in Shakespeare, finding Juliet alive. "The 
reasons that led us to such a barbarism were purely choregraphic," Prokofiev explained 
later. "Living people can dance, but the dead cannot dance lying down." Another factor 
was certainly the Soviet doctrine of Socialist Realism, which urged composers to pro- 
vide optimistic, uplifting endings to their operas and ballets. In the end, Prokofiev and 
his collaborators restored the original tragic ending, which turned out to be spectacularly 
effective both choreographically and musically. 



40 



Each of the two orchestral suites Prokofiev arranged in 1936 from the music for Romeo 
and Juliet has seven titled sections. Suite No. 1 (Opus 64-bis) focuses on rearranged 
genre episodes from Acts I and II and does not attempt to follow the dramatic action. 
Four of its sections are dance intermezzi and only two ("Madrigal" and "Romeo and 
Juliet") make use of the major dramatic leitmotifs. Suite No. 2 (Opus 64-ter), on the 
other hand, possesses a more logical narrative structure that follows the play's plot. 

Romeo represents a giant step forward in Prokofiev's evolution as a ballet composer. 
It is a remarkable synthesis of the five "lines" of his musical personality, as he once de- 
scribed them: classical, modern, toccata (or motor), lyrical, and grotesque. His aggressive 
"Scythianism" found brilliant expression in the violent hostility between the Montagues 
and Capulets, and in the brutal darkness of the unenlightened medieval setting. His 
"classicism" found an outlet in the courtly dances required of an artistocratic setting, 
such as gavottes and minuets. Entirely appropriate for some of the character roles, such 
as the Nurse, was Prokofiev's famous satirical style, while his scherzo style suited volatile 
characters like Mercutio. And finally, Prokofiev's lyricism, an increasingly important 
part of his artistic personality since the late 1920s and now reinforced by the Soviet 
musical environment (which prized melody and accessibility above all else), was both 
necessary and particularly successful in conveying the innocent passion between the 
lovers that lies at the center of the drama. Romeo is Prokofiev's first completely success- 
ful lyrical stage work, and his first convincing portrayal of non-ironic romantic love. 

— Harlow Robinson 







GUEST ARTISTS 

Sir Andre Previn 

Composer/conductor/pianist Sir Andre Previn has received numerous 
awards and honors for his outstanding musical accomplishments. He 
holds both the Austrian and German Cross of Merit, was a Kennedy 
Center honoree for his lifetime achievements, and was knighted by Her 
Majesty Queen Elizabeth II in 1996. On March 14, 2006, in Toronto, 
he was presented with the Glenn Gould Prize. He has received several 
Grammys for his recordings. In February 2005, at the 47th Grammy 
Awards, he was honored for his disc with Anne-Sophie Mutter of his own 
Violin Concerto {Anne-Sophie) and Bernstein's Serenade for violin and orchestra, the former 
recorded with the Boston Symphony Orchestra, the latter with the London Symphony Or- 
chestra. Musical America has named him "Musician of The Year"; his first opera, A Streetcar 
Named Desire, was awarded the Grand Prix du Disque. A frequent guest — both in concert 
and on recordings — with the world's major orchestras, Mr. Previn appears regularly with the 
Boston Symphony Orchestra, New York Philharmonic, and Vienna Philharmonic, to name a 
few, and has held chief artistic posts with the Houston Symphony, London Symphony, Los 
Angeles Philharmonic, Pittsburgh Symphony, Oslo Philharmonic, and Royal Philharmonic. 
Podium appearances this season include the Oslo Philharmonic, the Gewandhaus Orchestra 
of Leipzig, the Maggio Musicale Fiorentino, and the Boston Symphony Orchestra. In 
March 2007, his opera A Streetcar Named Desire was performed in Vienna. At Tanglewood in 
July he leads two programs with the Boston Symphony Orchestra and appears as pianist in 
Ozawa Hall with guitarist Jim Hall and bass player David Finck for an evening of jazz. His 
2007-08 season will include three weeks with the NHK Symphony in Tokyo, appearances 
with the London Symphony Orchestra and Rotterdam Philharmonic, tour performances 
with the Royal Concertgebouw Orchestra of Amsterdam with Anne-Sophie Mutter as 
soloist, and an appearance at the Blue Note in New York. As a pianist, Mr. Previn often per- 
forms in a trio with Anne- Sophie Mutter and cellist Lynn Harrell, and as a jazz pianist with 
David Finck. He has given recitals with Renee Fleming at Lincoln Center, and with Barbara 



41 



Bonney at Carnegie Hall and the Mozarteum in Salzburg; he performs chamber music fre- 
quently with the Emerson String Quartet, as well as with members of the Boston Symphony 
Orchestra, London Symphony Orchestra, and Vienna Philharmonic. Mr. Previn's recent suc- 
cesses as a composer have included a work for the Emerson String Quartet and Barbara 
Bonney commissioned by Carnegie Hall; two works for Anne-Sophie Mutter, both of which 
they have recorded {Tango, Song, and Dance for violin and piano, and his Violin Concerto, 
written for Ms. Mutter and the Boston Symphony Orchestra); and Diversions for orchestra, 
written for and recorded by the Vienna Philharmonic. His opera A Streetcar Named Desire, on 
a libretto by Philip Littell based on the play by Tennessee Williams, was premiered in 1998 
under his direction at San Francisco Opera, with Renee Fleming as Blanche Dubois. The 
opera was broadcast on television, recorded for Deutsche Grammophon for release on com- 
pact disc, and has also been issued on DVD. Mr. Previn's second opera, Brief Encounter, com- 
missioned by Houston Grand Opera, will be premiered there in May 2009. His Harp Con- 
certo, commissioned by the Pittsburgh Symphony, will be premiered in March 2008. A dou- 
ble concerto for violin and viola, written for Anne- Sophie Mutter and Yuri Bashmet, will be 
premiered in New York in 2009. Mr. Previn teaches regularly at the Curtis Institute of Music 
and the Tanglewood Music Center, where he works with the student orchestras, conductors, 
and composers, and coaches chamber music. Andre Previn has appeared regularly with the 
Boston Symphony Orchestra in Symphony Hall and at Tanglewood since his Tanglewood 
debut in August 1977, most recently for subscription concerts in April 2006 (a program 



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including the world premiere of his Double Concerto for Violin, Double Bass, and Orches- 
tra). Also this month he leads a second concert with the Boston Symphony Orchestra next 
Friday, and he is pianist for an evening of jazz in Ozawa Hall next Sunday night. 

Jean-Philippe Collard 

Although pianist Jean-Philippe Collard's name is as French as his birth- 
place, Mareuil-sur-Ay, Champagne, his repertoire knows no geographical 
boundaries. Besides his complete mastery of French concerto literature, 
his interpretations of works by Bartok, Brahms, Gershwin, Haydn, Liszt, 
Mozart, Prokofiev, Rachmaninoff, Strauss, and Tchaikovsky have met 
with great acclaim. Born into a musical family, Mr. Collard was admitted 
to the Conservatoire National Superieur de Musique de Paris at an excep- 
tionally young age. At sixteen he was unanimously awarded the Conserva- 
tory's First Prize, and he has subsequently won many others, including the Grand Prix du 
Concours National des Artistes Soloistes, Prix Albert Roussel, Prix Gabriel Faure, Prix du 
Concours International Marguerite Long/Jacques Thibaud, and Grand Prix du Concours 
International Cziffra. In January 2003 he was named a Chevalier de la Legion d'honneur. In 
addition to recitals throughout Europe, North and South America, Russia, and the Far East, 
Mr. Collard has appeared as soloist with the world's greatest orchestras, including the Zurich 
Tonhalle, Cleveland, Philadelphia, and Minnesota orchestras; the Orchestre de Paris, Orches- 
tre National de Lyon; London's Philharmonia Orchestra; the Orchestra of St. Luke's; the 
New York, BBC, Royal, Los Angeles, and Royal Liverpool philharmonic orchestras; and the 
BBC, San Francisco, London, Vienna, Pittsburgh, Detroit, Atlanta, Indianapolis, Boston, 
and NHK (Japan) symphony orchestras. He has collaborated with such renowned conduc- 
tors as Semyon Bychkov, Marek Janowski, Eugen Jochum, Seiji Ozawa, Andre Previn, 
Simon Rattle, and Charles Dutoit, and has also performed at the London Proms and the 
festivals of Edinburgh, Aldeburgh, Bad Kissingen, Salzburg, Bath, Caramoor, Newport, and 
Saratoga. Upcoming engagements include performances with the Pittsburgh Symphony 
under Tortelier, the Detroit Symphony under Dutoit, and the Berlin Symphoniker under 
Casadesus, as well as recitals all over the world, including Houston, Sao Paulo, London, and 
Paris. Mr. Collard's discography, numbering more than thirty titles, includes Rachmaninoff's 
Etudes-Tableaux and Brahms's Hungarian Dances (with pianist Michel Beroff), both named 
Stereo Reviews Record of the Year in their respective years; the Ravel concertos with Lorin 
Maazel and the Orchestre National de France, cited by Gramophone Magazine as Best 
Concerto Recording; and Chausson's Concert, Opus 21 (with Augustin Dumay and the Muir 
String Quartet), which won the Grand Prix du Disque. He has recorded all five Saint-Saens 
piano concertos with Andre Previn and the Royal Philharmonic Orchestra, and made the 
first recordings of Mozart's arrangements of six French melodies with baritone Jose van 
Dam. Other recordings include a disc of Chopin Ballades and the Sonata No. 3, and a Liszt 
recital including the Sonata in B minor. Mr. Collard lives in Paris with his wife and five chil- 
dren. Making his Tanglewood debut this afternoon, Jean-Phillipe Collard made his Boston 
Symphony debut in January 1991, in subscription concerts led by Andre Previn. This is his 
first BSO appearance since that occasion. 



I 






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43 



Tanglewood Major Corporate Sponsors, 2007 Season 

Tanglewood major corporate sponsorship reflects the increasing impor- 
tance of alliance between business and the arts. The BSO is honored to be 
associated with the following companies and gratefully acknowledges their 
partnerships. For information regarding BSO, Boston Pops, and/or 
Tanglewood sponsorship opportunities, contact Alyson Bristol, Director 
of Corporate Sponsorships, at (617) 638-9279 or at abristol@bso.org. 




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festival, for its 2007 season. As an investment manager, we 
greatly appreciate the value of bringing people together in 
an environment that inspires creativity and innovation. By 
investing in the "Tanglewood experience," we are delighted 
to help preserve and sustain the combined assets of great 
classical music and nature. 




Carol Marlow 

President and Managing 
Director 



CUNARD 

THE MOST FAMOUS OCEAN LINERS IN THE WORLD 




ar^s* 



Cunard Line, whose fleet comprises The Most Famous Ocean 
Liners in the World SM , Queen Mary 2, QE2, and our newest 
royal, Queen Victoria, comes aboard for the first time as the 
Official Cruise Line of the Boston Symphony Orchestra and 
Boston Pops, and sponsor of the 2007 Tanglewood Jazz Festival. 
During its storied 167-year history, Cunard's renowned ships 
have transported society's luminaries, notables, and famed artists 
around the world in unrivaled style. Sumptuous surroundings 
and the line's legendary White Star Service SM have made 
Cunard the preferred choice of luxury travel for generations. 




44 




Joanne Smith 

Senior Vice President, 
In-flight Services & 
Global Product 
Development 



ADelta 



Delta Air Lines is pleased to support Tanglewood in its second 
season as the Official Airline of the Boston Symphony Orchestra. 
We look forward to an outstanding summer with guest appear- 
ances by today's most celebrated artists from around the world. 
At Delta, we have been a longtime supporter of the Boston and 
New York metropolitan areas, at the airport and beyond. This 
commitment to the BSO builds upon Deltas global support of 
the arts. 





Dawson Rulter 

President and CEO 




OMMONWEALTH WORLDWIDE 

CHAUFFEURED TRANSPORTATION 

Commonwealth Worldwide Chauffeured Transportation 
is proud to be the Official Chauffeured Transportation 
provider of the Boston Symphony Orchestra and the 
Boston Pops. The BSO has enhanced the Boston commu- 
nity for 125 years and we are excited to be a part of such 
rich heritage. We look forward to celebrating our relation- 
ship with the BSO, Boston Pops, and Tanglewood for 
many years to come. 




Bruce Stevens 

President 



S T E I N W A Y 



SONS 



Steinway &c Sons is proud to be the piano selected exclusively at 
Symphony Hall and Tanglewood. Since 1853, Steinway pianos 
have been handmade to an uncompromising standard, and 
applauded by artists and audiences alike for their rich, expres- 
sive sound. It's no wonder that, for 98% of today's concert pianists, 
the choice is Steinway. 




45 




THE KOUSSEVITZKY SOCIETY 

The Koussevitzky Society recognizes gifts made since September 1, 2006, to the 
following funds: Tanglewood Annual Fund, Tanglewood Business Fund, Tanglewood 
Music Center Annual Fund, and Tanglewood restricted annual gifts. The Boston 
Symphony Orchestra is grateful to the following individuals, foundations, and busi- 
nesses for their annual support of $3,000 or more during the 2006-2007 season. For 
further information, please contact Barbara Hanson, Manager of the Koussevitzky 
Society, at (413) 637-5278. 



Linda J.L. Becker 
George and Roberta Berry 



VIRTUOSO $50,000 to $99,999 

Country Curtains Carol and Joe Reich in memory 

Dorothy and Charlie Jenkins of Nan Kay 



A Friend of the Tanglewood 

Music Center 
Jan Brett and Joseph Hearne 
Sally and Michael Gordon 



ENCORE $25,000 to $49,999 

Joyce and Edward Linde 
Mrs. Evelyn Nef 
Susan and Dan Rothenberg 
Dr. and Mrs. Michael Sporn 



Mr. and Mrs. James V. Taylor 
Stephen and Dorothy Weber 



Robert and Elana Baum 
BSO Members' Association 
Canyon Ranch in the Berkshires 
Joseph and Phyllis Cohen 
Cynthia and Oliver Curme 
Ginger and George Elvin 
Daniel Freed in memory of 

Shirlee Cohen Freed 
The Frelinghuysen Foundation 



MAESTRO $15,000 to $24,999 

Cora and Ted Ginsberg 
Leslie and Stephen Jerome 
Stephen B. Kay and Lisbeth 

Tarlow 
Mr. and Mrs. John M. Loder 
James A. Macdonald Foundation 
Jay and Shirley Marks 
Mrs. August R. Meyer 
Drs. Eduardo and Lina Plantilla 



Irene and Abe Pollin 

The Red Lion Inn 

Carole and Edward I. Rudman 

Dr. Raymond and Hannah H. 
Schneider 

Tony, Pam and Sarah Schneider 
in honor of Hannah and Ray's 
60th wedding anniversary 



BENEFACTORS $10,000 to $14,999 



The Berkshires Capital Investors 
Blantyre 

Ms. Sandra L. Brown 
Catherine and Paul Buttenwieser 
Ms. Agatina Carbonaro 
Erskine Park LLC 
Hon. and Mrs. John H. 
Fitzpatrick 



Nancy J. Fitzpatrick and Lincoln 

Russell 
The Hon. Peter H.B. 

Frelinghuysen 
Mr. and Mrs. Lawrence S. Horn 
Margery and Everett Jassy 
In memory of Florence and 

Leonard S. Kandell 



Robert and Luise Kleinberg 
Mrs. Millard H. Pryor, Jr. 
Mr. Alan Sagner 
Mr. and Mrs. Ira Sarinsky 
Evelyn and Ronald Shapiro 
The Studley Press, Inc. 
Anonymous (1) 



Abbott's Limousine 6c Livery 

Service, Inc. 
Norman Atkin, M.D. and Phyllis 

Polsky 
Ann and Alan H. Bernstein 
Mr. and Mrs. Paul Berz 
Mr. and Mrs. Lee N. Blatt 
Brad and Terrie Bloom 
Broadway Manufacturing 

Supply LLC 
Ann Fitzpatrick Brown 
Ronald and Ronni Casty 
Mr. John F. Cogan, Jr. and 

Ms. Mary L. Cornille 
James and Tina Collias 
Dr. Charles L. Cooney and 

Ms. Peggy Reiser 



SPONSORS $5,000 to $9,999 

Ranny Cooper and David Smith 
Mr. and Mrs. Herbert J. Coyne 
Crane 6c Company, Inc. 
Mr. and Mrs. William F Cruger 
Mr. and Mrs. Clive S. Cummis 
Paul F. and Lori A. Deninger 
Ursula Ehret-Dichter and 

Channing Dichter 
Ms. Marie V. Feder 
Doucet and Stephen Fischer 
Mr. and Mrs. Dale E. Fowler 
Herb and Barbara Franklin 
Dr. Donald and Phoebe Giddon 

in memory of Rabbi Howard 

Greenstein 
Roberta and Macey Goldman 
Mr. and Mrs. Robert A. Goodman 



Corinne and Jerry Gorelick 

John and Chara Haas 

Mr. and Mrs. Scott M. Hand 

Joseph K. and Mary Jane Handler 

Dr Lynne B Harrison 

Mr. and Mrs. Francis W. Hatch, Jr. 

Mrs. Paul J. Henegan 

Mrs. Marilyn Brachman Hoffman 

Dr. and Mrs. Edwin H. Hopton 

Stephen and Michele Jackman 

Prof, and Mrs. Paul Joskow 

Mr. and Mrs. Michael P. Kahn 

Mr. and Mrs. Louis Kaitz 

Martin and Wendy Kaplan 

Natalie Katz in memory of 

Murray S. Katz 
Leo A. Kelty 



46 













&a 



SPONSORS $5,000 to $9,999 (continued) 



Mr. and Mrs. Michael Kittredge 
Mr. and Mrs. Jacques Kohn 
Koppers Chocolate 
Liz and George Krupp 
Norma and Sol D. Kugler 
William and Marilyn Larkin 
Legacy Banks 

Mr. and Mrs. Jesse J. Lehman 
Cynthia and Robert J. Lepofsky 
Mrs. Vincent Lesunaitis 
Buddy and Nannette Lewis 
Mr. and Mrs. Murray Liebowitz 
Phyllis and Walter F. Loeb 
Mr. and Mrs. Edwin N. London 
Dr. Robert and Jane B. Mayer 
Mr. and Mrs. Thomas T. McCain 
Carol and Thomas McCann 
Mr. and Mrs. John C. Morris 
Mrs. Alice D. Netter 
Mr. and Mrs. Chet Opalka 
Patten Family Foundation 



Alii and Bill Achtmeyer 
Mr. and Mrs. Ronald Altman 
Bonnie and Louis Altshuler 
Lucille Batal 
Arthur Appelstein and Lorraine 

Becker 
Gideon Argov and Alexandra 

Fuchs 
Joseph F. Azrack and Abigail S. 

Congdon 
Helene and Ady Berger 
Jerome and Henrietta Berko 
Berkshire Bank 
Berkshire Life Insurance 

Company of America 
Jane and Raphael Bernstein/ 

Parnassus Foundation 
Ms. Joyce S. Bernstein and 

Mr. Lawrence M. Rosenthal 
Linda and Tom Bielecki 
Hildi and Walter Black 
Eleanor and Ed Bloom 
Birgit and Charles Blyth 
Mr. and Mrs. Nat Bohrer 
Mr. and Mrs. Nicholas Boraski 
Marlene and Dr. Stuart H. 

Brager 
Mr. and Mrs. James H. Brandi 
Jane and Jay Braus 
Marilyn and Arthur Brimberg 
Judy and Simeon Brinberg 
Samuel B. and Deborah D. 

Bruskin 
Mr. and Mrs. Allan Bufferd 
Gregory E. Bulger Foundation 
Cain, Hibbard, Myers 6c Cook 



Polly and Dan Pierce 
Claudio and Penny Pincus 
Mr. Frank M. Pringle 
Quality Printing Company, Inc. 
The Charles L. Read Foundation 
Robert and Ruth Remis 
Elaine and Bernard Roberts 
Barbara and Michael Rosenbaum 
Maureen and Joe Roxe/ 
The Roxe Foundation 
David and Sue Rudd 
Mr. and Mrs. Kenan E. Sahin 
Malcolm and BJ Salter 
Marcia and Albert Schmier 
Mr. and Mrs. Ernest Schnesel 
Mrs. Dan Schusterman 
Mr. and Mrs. Marvin Seline 
Arlene and Donald Shapiro 
Sheffield Plastics, Inc. 
Hannah and Walter Shmerler 
Marion and Leonard Simon 



MEMBERS $3,000 to $4,999 

Phyllis H. Carey 
David and Maria Carls 
Mary Carswell 
Casablanca 
Iris and Mel Chasen 
Audrey and Jerome Cohen 
Barbara Cohen-Hobbs 
Judith and Stewart Colton 
Linda Benedict Colvin in 

loving memory of her brother, 

Mark Abbott Benedict 
In memory of D.M. Delinferni 
Dr. and Mrs. Harold L. Deutsch 
Chester and Joy Douglass 
Paula and Tom Doyle 
Dresser-Hull Company 
Ms. Judith R. Drucker 
Terry and Mel Drucker 
Mr. Alan Dynner 
Mr. and Mrs. Leonard Edelson 
Mr. and Mrs. Monroe B. England 
Eitan and Malka Evan 
Mr. and Mrs. Carl M. Feinberg 
Mr. & Mrs. Philip Fidler 
Mr. and Mrs. John C. Fontaine 
Mr. and Mrs. David Forer 
Marjorie and Albert Fortinsky 
Ms. Bonnie Fraser 
Rabbi Daniel Freelander and 

Rabbi Elyse Frishman 
Mr. Michael Fried 
Carolyn and Roger Friedlander 
Myra and Raymond Friedman 
Audrey and Ralph Friedner 
David Friedson and Susan Kaplan 
Mr. and Mrs. Robert L. Gable 



47 



Mr. and Mrs. Irving Smokier 
Margery and Lewis Steinberg 
Jerry and Nancy Straus 
Marjorie and Sherwood Sumner 
Mr. and Mrs. George A. Suter, Jr. 
Mr. Aso Tavitian 
TD Banknorth 
Mr. and Mrs. Wilmer J. 

Thomas, Jr. 
Jacqueline and Albert Togut 
Loet and Edith Velmans 
Mrs. Charles H. Watts II 
Karen and Jerry Waxberg 
Mr. and Mrs. Edwin A. 

Weiller III 
Mrs. Anne Westcott 
Wheatleigh Hotel 6c Restaurant 
Robert C. Winters 
Mr. and Mrs. Ira Yohalem 
Anonymous (3) 




Jill and Harold Gaffin 
Agostino and Susan Galluzzo 
Mr. and Mrs. Leslie J. Garfield 
Drs. Ellen Gendler and 

James Salik in memory of 

Dr. Paul Gendler 
Mr. and Mrs. Melvin Y. 

Gershman 
Dr. Anne Gershon 
Stephen A. Gilbert and 

Geraldine R. Staadecker 
David H. Glaser and Deborah F 

Stone 
Sy and Jane Glaser 
Mr. and Mrs. Andrew Goldfarb 
Mr. and Mrs. Seymour L. 

Goldman 
Judith Goldsmith 
Roslyn K. Goldstein 
Goshen Wine 6c Spirits, Inc. 
Mr. and Mrs. Richard Grausman 
Stacey Nelkin and Marco 

Greenberg in memory of 

Edith B. Greenberg 
Mr. Harold Grinspoon and 

Ms. Diane Troderman 
Carol and Charles Grossman 
Ms. Bobbie Hallig 
Felda and Dena Hardymon 
William Harris and Jeananne 

Hauswald 
Mr. and Mrs. Richard Harte 
Mr. Lee Hemphill and 

Ms. Elsbeth Lindner 
Mr. Gardner C. Hendrie and 

Ms. Karen J. Johansen 

Continued on next page 





MEMBERS $3,000 to $4,999 (continued) 



Mr. and Mrs. Robert I. Hiller 
Mr. and Mrs. Smart Hirshfield 
Mr. Arnold J. and Helen G. 

Hoffman 
Charles and Enid Hoffman 
Lila and Richard Holland 
Mrs. Ruth W. Houghton 
Housatonic Curtain Company, 

Inc. 
Mr. Walter B. Jr. and 

Mrs. Nancy Howell 
Lola Jaffe in memory of 

Edwin Jaffe 
Liz and Alan Jaffe 
Mr. and Mrs. Werner Janssen, Jr. 
Mr. and Mrs. Daniel R. Johnson 
Mr. and Mrs. R. Courtney Jones 
Ms. Lauren Joy and Ms. Elyse 

Etling 
Nedra Kalish 
Adrienne and Alan Kane 
Mr. and Mrs. Arnold Y. Kapiloff 
Ms. Cathy Kaplan 
Leonard Kaplan and Marcia 

Simon Kaplan 
Mr. and Mrs. Eric Katzman 
Mr. Chaim and Dr. Shulamit 

Katzman 
Walter Kaye 
Mr. John F. Kelley 
Mr. and Mrs. Bruce Kelly 
Mr. and Mrs. George H. Kidder 
Mr. and Mrs. Carleton F. Kilmer 
Deko and Harold Klebanoff 
Dr. and Mrs. Lester Klein 
Mr. Robert E. Koch 
Dr. and Mrs. David Kosowsky 
Mr. and Mrs. Ely Krellenstein 
Mr. and Mrs. Irving Kronenberg 
Mr. and Mrs. Richard Kronenberg 
Naomi Kruvant 
Dr. and Mrs. Stephen Kulvin 
Mildred Loria Langsam 
Mr. and Mrs. William Lehman 
Mr. and Mrs. Marvin Lender 
The Lenox Athenaeum 
David and Lois Lerner Family 

Foundation 
Don and Gini LeSieur 
Mr. Arthur J. Levey and 

Ms. Rocio Gell 
Valerie and Bernard Levy 
Marjorie T. Lieberman 
Geri and Roy Liemer 
Dr. David Lippman and 

Ms. Honey Sharp 
Jane and Roger Loeb 
Gerry and Sheri Lublin 
Diane H. Lupean 
Gloria and Leonard Luria 
Mrs. Edward Lustbader 
I. Kenneth and Barbara Mahler 



Mr. and Mrs. Darryl Mallah 
Rev. Cabell B. Marbury 
Peg and Bob Marcus 
Suzanne and Mort Marvin 
Sydelle and Ed Masterman 
Mr. Daniel Mathieu and 

Mr. Thomas M. Potter 
Mary and James Maxymillian 
Joel Robert Melamed MD in 

memory of Charles Elliot Ziff 
The Messinger Family 
Rebecca and Nathan Milikowsky 
Mr. and Mrs. Michael Monts 
Gloria Narramore Moody 

Foundation 
In memory of Ruth O. Mulbury 

from a grateful nephew 
Mr. and Mrs. Joseph L. Nathan 
Jerry and Mary Nelson 
Linda and Stuart Nelson 
Bobbie and Arthur Newman 
Mr. and Mrs. Gerard O'Halloran 
Dr. and Mrs. Martin S. 

Oppenheim 
Mr. and Mrs. Michael Orlove 
Dr. and Mrs. Simon Parisier 
Wendy Philbrick in memory 

of Edgar Philbrick 
Mr. Peter Philipps 
Plastics Technology 

Laboratories, Inc. 
Mr. and Mrs. Jonathan Poorvu 
Mr. and Mrs. Kenneth Poovey 
Fern Portnoy and Roger 

Goldman 
Mr. and Mrs. Walter Pressey 
Mary Ann and Bruno A. 

Quinson 
Mr. and Mrs. Nathan Reiber 
Bruce Reopolos 
Mr. and Mrs. Stanley Riemer 
Mary and Lee Rivollier 
Fred and Judy Robins 
Ms. Deborah Ronnen and 

Mr. Sherman F. Levey 
Mr. Brian Ross 
Mr. and Mrs. Stanley Ross 
Suzanne and Burton Rubin 
Mr. and Mrs. Milton B. Rubin 
Mr. and Mrs. Michael Salke 
Samuel and Susan Samelson 
Mr. Robert M. Sanders 
Norma and Roger A. Saunders 
Dr. and Mrs. Wynn A. Sayman 
Mr. Gary S. Schieneman and 

Ms. Susan B. Fisher 
Pearl and Alvin Schottenfeld 
Mr. Daniel Schulman and 

Ms. Jennie Kassanoff 
Carol and Marvin Schwartzbard 
Mr. and Mrs. Sheldon Seevak 
Betsey and Mark Selkowitz 



Carol and Richard Seltzer 
Mr. and Mrs. Daniel Shapiro 
Mr. and Mrs. Joel Shapiro 
Natalie and Howard Shawn 
Jackie Sheinberg and Jay 

Morganstern 
The Richard Shields Family 
The Honorable and Mrs. George 

P. Shultz 
The Silman Family 
Richard B. Silverman 
Mr. and Mrs. Robert L. 

Singleton 
Mr. and Mrs. Robert S. Siskin 
Mary Ann and Arthur Siskind 
Jack and Maggie Skenyon 
Mrs. William F. Sondericker 
Harvey and Gabriella Sperry 
Emily and Jerry Spiegel 
Mr. Peter Spiegelman and 

Ms. Alice Wang 
Mrs. Lauren Spitz 
Mr. and Mrs. Charles A. Stakely 
Mr. and Mrs. Lewis Stein 
Mr. and Mrs. Daniel S. Sterling 
Mr. Ronald Stillman 
Mrs. Pat Strawgate 
Roz and Charles Stuzin 
Michael and Elsa Daspin 

Suisman 
Lois and David Swawite 
Mr. and Mrs. Richard Taylor 
Mr. and Mrs. John L. Thorndike 
Mr. and Mrs. Roger Tilles 
Diana O. Tottenham 
Barbara and Gene Trainor 
True North Insurance 

Agency, Inc. 
Myra and Michael Tweedy 
Mr. and Mrs. Howard J. Tytel 
June Ugelow 
Laughran S. Vaber 
Mr. Gordon Van Huizen and 

Ms. Diana Gaston 
Viking Fuel Oil Company 
Mr. and Mrs. William G. Walker 
Mr. and Mrs. Harvey Waller 
Mr. and Mrs. Barry Weiss 
Dr. and Mrs. Jerry Weiss 
Mr. and Mrs. Robert A. Wells 
Tom and Suky Werman 
Carol Andrea Whitcomb 
Carole White 

Peter D. Whitehead, Builder 
Mr. Robert G. Wilmers 
Mr. Jan Winkler and 

Ms. Hermine Drezner 
Richard M. Ziter, M.D. 
Lyonel E. Zunz 
Anonymous (11) 



48 




/THIS SUMMER, 

WE'RE/BLOWING THE ROOF OFF 
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Live music is part of the fabric of this place. With the Talcott Mountain Music 
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JULY AT TANGLEWOOD 



Sunday, July 1, at 2:30 

EMERSON STRING QUARTET 
ALL-BEETHOVEN PROGRAM 

Wednesday, July 4, at 7 

THE NEW CARS 
with Todd Rundgren 
Gates open at 4 p.m.; fireworks to follow 
the concert 

Thursday, July 5, at 8:30 p.m. 

JUILLIARD STRING QUARTET 
ALL-BARTOK PROGRAM 

Celebrating the 60th anniversary of the 
Juilliard String Quartet 

Friday, July 6, at 6 (Prelude) 

MEMBERS OF THE BSO 
ANDRE PREVIN, piano 

Friday,July6,at8:30 
Opening Night at Tanglewood 

BSO— JAMES LEVINE, conductor 
HEIDI GRANT MURPHY and 
KRISTINE JEPSON, vocal soloists 
WOMEN OF THE TANGLEWOOD 

FESTIVAL CHORUS, 

JOHN OLIVER, conductor 

MENDELSSOHN Overture and Incidental 

Music to A Midsummer Nights Dream 
TCHAIKOVSKY Symphony No. 4 
Fireworks to follow the concert 

Saturday, July 7, at 10:30 a.m. 

Open Rehearsal (Pre-Rehearsal Talk at 9:30) 
BSO program of Sunday, July 8 

Saturday, July 7, at 8:30 

BSO— LUDOVIC MORLOT, conductor 
LYNN HARRELL, cello 

DVORAK Othello Overture 
TCHAIKOVSKY Variations on a Rococo 

Theme, for cello and orchestra 
TCHAIKOVSKY Pezzo capriccioso for cello 

and orchestra 
MUSSORGSKY/RAVEL Pictures at an 

Exhibition 

Sunday, July 8, at 2:30 

BSO— ANDRE PREVIN, conductor 
JEAN-PHILIPPE COLLARD, piano 

TCHAIKOVSKY Romeo and Juliet 
RACHMANINOFF Piano Concerto No. 1 
PROKOFIEV Music from the ballet 

Romeo and Juliet 



Tuesday, July 10, at 8:30 

BOSTON POPS ORCHESTRA 
KEITH LOCKHART, conductor 
GUEST VOCALISTS and TMC VOCAL 
FELLOWS 

RODGERS &HAMMERSTEIN Carousel 
(concert performance) 

Thursday, July 12, at 8:30 

HESPERION XXI 

JORDI SAVALL, director 

"The Sephardic Diaspora": Music reflecting 

the cultural richness and complexity of the 

Judeo-Spanish oral tradition 

Friday, July 13, at 6 (Prelude) 
MEMBERS OF THE BSO 

Friday,Julyl3,at8:30 

BSO— ANDRE PREVIN, conductor 
DANIEL MULLER-SCHOTT, cello 
MICHELLE DeYOUNG, mezzo-soprano 

MOZART Symphony No. 29 
HAYDN Cello Concerto No. 1 in C 
RAVEL Sheherazade, for mezzo-soprano and 

orchestra 
RAVEL Mother Goose (complete) 

Saturday, July 14, at 10:30 a.m. 

Open Rehearsal (Pre-Rehearsal Talk at 9:30) 
BSO program of Sunday, July 15 

Saturday, July 14, at 8:30 

BSO— JAMES LEVINE, conductor 
STEPHANIE BLYTHE, mezzo-soprano 
WOMEN OF THE TANGLEWOOD 

FESTIVAL CHORUS, 

JOHN OLIVER, conductor 
AMERICAN BOYCHOIR, FERNANDO 

MALVAR-RUIZ, music director 

MAHLER Symphony No. 3 

Sunday, July 15, at 2:30 p.m. 

BOSTON SYMPHONY ORCHESTRA 
MARK ELDER, conductor 
THOMAS HAMPSON, baritone 

STRAUSS Don Juan 
MAHLER Songs of a Wayfarer 
DELIUS Cynara, for baritone and orchestra 
SIBELIUS Symphony No. 2 

Sunday,Julyl5,at8:30 

ANDRE PREVIN, piano, with special guests 
JIM HALL, guitar, and DAVID FINCK, bass 

An evening of jazz 



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$4,800,000. Lovely views are offered with this distinguished turn-of-the- 
century home on Peaches Point. Tastefully restored with period details and 
modern amenities and renovations. The 6,000 square-foot home has six 
bedrooms, six baths and five fireplaces. Rita Havens, Marblehead, MA office, 
(781) 631-9511, rita.havens@NEMoves.com 



GLOUCESTER, MASSACHUSETTS 



CONCORD, MASSACHUSETTS 




$7,600,000. Magnificent ocean view gentleman's farm on over 28 rolling 
acres. This spectacular estate has been tastefully restored with a new kitchen, 
separate guest cottage, playhouse with fieldstone fireplace and barn. 
Additional amenities include a fenced paddock and cranberry bogs. Lynda 
Surdam, Manchester, MA office, 978-526-7572, lynda.surdam@NEMoves.com 



BOXFORD, MASSACHUSETTS 









$2,985,000. Completely renovated in 1997 yet retaining traditional character, 
this residence features late Georgian and early Federal styles with four tall 
chimneys and remarkable period details throughout. The home offers six 
fireplaces, cherry and granite country kitchen with a window wrapped eating 
area, large family room with built-ins, and a master bedroom suite with 
pastoral views. Brigitte Senkler and Sharon Mendosa, Concord, MA office, 
(978) 369-3600 

BROOKLINE, MASSACHUSETTS 




$3,200,000. Accessed by a gated, private drive is this most comfortable 
Cape-style residence on 1 1 beautiful acres. The four-bedroom main house 
features grand, spacious rooms, a professionally-designed media room, 
gourmet kitchen with granite countertops and top-of-the-line appliances. 
The wing area has an indoor pool, dog kennel, exercise room with sauna, a 
regulation racquetball/squash court, pistol range & guest suite. Gwen Washburn, 
Topsfield, MA office, (978) 887-6536, gwen.washbtrrn@NEmoves.com 



$1,870,000. Located in Brookline's Fisher Hill area, this stately 1890 
Colonial residence welcomes all who enter through its gracious reception 
hall with warm oak woods and beautiful details. The home has a 
banquet-size dining room, lovely fireplaces, pocket doors, bay windows, 
stained glass, and a wrap-around porch. Walk to Runkle School, Dean Park, 
shops and two T stops. Carol Come, Newton, MA office, (617) 969-2447, 
caroLcome@NEMoves.com 



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Tuesday, July 17, at 8:30 

BOSTON SYMPHONY CHAMBER 

PLAYERS 
THOMAS HAMPSON, baritone 
WOLFRAM RIEGER, piano 

SCHUMANN Dichterliebe (original version) 
BARBER Summer Music, for wind quintet 
MAHLER (arr. Hampson) Kindertotenlieder, 
for baritone and chamber ensemble 

Friday, July 20, at 6 (Prelude) 
MEMBERS OF THE BSO 

Friday, July 20, at 8:30 

BSO— MARK ELDER, conductor 
CHRISTINE BREWER, soprano 
IMOGEN COOPER, piano 

ALL-BEETHOVEN PROGRAM 

Leonore Overture No. 1; Piano Concerto No. 3; 
"Abscheulicher! Wo eilst du hin?. . . Komm, 
Hoffnung," from Fidelio; Symphony No. 4 

Saturday, July 21, at 10:30 a.m. 

Open Rehearsal (Pre-Rehearsal Talk at 9:30) 
BSO program of Sunday, July 22 

Saturday, July 21, at 8:30 

BSO— HANS GRAF, conductor 
CHRISTINE BREWER, soprano 
BEAUX ARTS TRIO 

ALL-BEETHOVEN PROGRAM 
Leonore Overture No. 2; Triple Concerto for 
piano, violin, and cello; Ah! perfido, Concert aria 
for soprano and orchestra; Symphony No. 2 

Sunday, July 22, at 2:30 

BSO— JENS GEORG BACHMANN, 

conductor 
LEON FLEISHER, piano 
DANIEL HOPE, violin 

ALL-BEETHOVEN PROGRAM 

Leonore Overture No. 3; Piano Concerto No. 5, 

Emperor; Romance No. 2 for violin and 

orchestra; Symphony No. 7 

Wednesday, July 25, at 8:30 

NETHERLANDS BACH SOCIETY 
JOS VAN VELDHOVEN, conductor 

J.S. BACH Mass in B minor 




Thursday, July 26, at 8:30 

NETHERLANDS BACH SOCIETY 
JOS VAN VELDHOVEN, conductor 

ALL-J.S. BACH PROGRAM 

Secular Cantatas 207a (for the name day of 
King Augustus III, Elector of Saxony) and 
214 (celebrating the birthday of the Electress 
Maria Josepha of Saxony) 

Violin Concerto No. 2 in E, BWV 1042 

Friday, July 27, at 6 (Prelude) 

TANGLEWOOD FESTIVAL CHORUS 
JOHN OLIVER, conductor 

Friday,July27,at8:30 

BSO— KURT MASUR, conductor 
JOSHUA BELL, violin 

PROKOFIEV Symphony No. 1, Classical 
PROKOFIEV Violin Concerto No. 1 
BEETHOVEN Symphony No. 1 

Saturday, July 28, at 10:30 a.m. 

Open Rehearsal (Pre-Rehearsal Talk at 9:30) 
BSO program of Sunday, July 29 

Saturday, July 28, 7:30 p.m., Shed 

TANGLEWOOD MUSIC CENTER 

ORCHESTRA 
JAMES LEVINE, conductor 
PATRICIA RACETTE (Elisabetta) 
LUCIANA D'INTINO (Princess Eboli) 
JOHAN BOTHA (Don Carlo) 
ZELJKO LUCIC (Marquis of Posa) 
JAMES MORRIS (Philip II) 
PAATA BURCHULADZE (The Grand 

Inquisitor) 
DAVID WON (The Count of Lerma) 
EVGENY NIKITIN (A Monk) 
TMC VOCAL FELLOWS 
TANGLEWOOD FESTIVAL CHORUS, 

JOHN OLIVER, conductor 

VERDI Don Carlo 

(Concert performance of four-act version; 
in Italian with supertitles) 

Sunday, July 29, at 2:30 

BSO— KURT MASUR, conductor 

ALL-MOZART PROGRAM 

Symphony No. 39 
Symphony No. 40 
Symphony No. 41, Jupiter 

Programs and artists subject to change. 



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2007TANGLEWOOD MUSIC CENTER PERFORMANCE SCHEDULE 

Unless otherwise noted, all events take place in the Florence Gould Auditorium of Seiji Ozawa Hall. 
Other venues are the Shed, Chamber Music Hall (CMH), and Theatre (TH). 

* indicates that tickets are available through the Tanglewood Box Office or SymphonyCharge. 
J> indicates free admission for ticket holders to that evening's 8:30 p.m. concert 



Thursday, June 28, at 8:30 p.m. * 
Friday, June 29, at 8:30 p.m. * 
Mark Morris Dance Group 
PURCELL Dido and Aeneas 

Sunday, July 1, at 10 a.m. 

Chamber Music Concert 

Sunday, July 1, at 8:30 p.m. 

Brass and Percussion Concert 

Monday, July 2, at 10 a.m.; 1 p.m.; 4 p.m. 

String Quartet Marathon: 
Three two-hour performances 

Saturday, July 7, at 6 p.m. J> 
Prelude Concert 

Sunday, July 8, at 10 a.m. 

Chamber Music Concert 

Monday, July 9, at 2:30 p.m. 

Opening Exercises 

(free admission; open to the public) 

Monday, July 9, at 8:30 p.m. * 

The Phyllis and Lee Coffey Memorial Concert 

TMC ORCHESTRA 

STEFAN ASBURY, KAZEM ABDULLAH 

(TMC Fellow), and ERIK NIELSEN 

(TMC Fellow), conductors 
RAVEL Le Tombeau de Couperin 
BARTOK Suite from The Miraculous Mandarin 
HOLST The Planets 

Tuesday, July 10, at 8:30 p.m. (Shed) * 

BOSTON POPS ORCHESTRA 

KEITH LOCKHART, conductor 

with TMC Vocal Fellows 

RODGERS &HAMMERSTEIN Carousel 

Saturday, July 14, at 6 p.m. J> 
Prelude Concert- Vocal Recital 

Sunday, July 15, at 10 a.m. 

Chamber Music Concert 

Monday, July 16, at 6 p.m. J> 
Prelude Concert 

Monday, July 16, at 8:30 p.m. * 

The Daniel Freed Concert, in memory of 

Shirlee Cohen Freed 
TMC ORCHESTRA 
MARK ELDER, SEAN NEWHOUSE 

(TMC Fellow), and KAZEM ABDULLAH 

(TMC Fellow), conductors 
STRAVINSKY Danses concertantes 
HAYDN Symphony No. 92, Oxford 
SHOSTAKOVICH Symphony No. 1 



Saturday, July 21, at 6 p.m. J> 

Prelude Concert 

Sunday, July 22, at 10 a.m. 

Chamber Music Concert 

Sunday, July 22, at 8:30 p.m. (CMH) 

Music of TMC Composition Fellows 

Monday, July 23, at 8:30 p.m. 

Vocal Recital 

Saturday, July 28, 6 p.m. «h 

Prelude Concert 

Saturday, July 28, at 7:30 p.m. (Shed) * 
The Leonard Bernstein Memorial Concert 
To benefit the Tanglewood Music Center 
TMC ORCHESTRA 
JAMES LEVINE, conductor 
VOCAL SOLOISTS 
VERDI Don Carlo 

(Concert performance of four-act version, 
sung in Italian with English supertides) 

Sunday, July 29 - Thursday, August 2 

2007 FESTIVAL OF CONTEMPORARY 
MUSIC 

John Harbison, director 

Made possible by the generous support of Dr. 
Raymond and Hannah H. Schneider, with 
additional support through grants from The 
Aaron Copland Fund for Music, the Argosy 
Foundation, the National Endowment for 
the Arts, the Fromm Music Foundation, and 
The Helen F Whitaker Fund 

Five days of new music performed by TMC 
Fellows, the Boston Symphony Orchestra, 
and guest artists 

Detailed program information available at 
the Main Gate 

Saturday, August 4, at 6 p.m. J) 
Prelude Concert 

Sunday, August 5, at 10 a.m. 

Chamber Music Concert 

Saturday, August 11, at 2 p.m. (Theatre) * 
Sunday, August 12, at 7:30 p.m. (Theatre) * 
Monday, August 13, at 7:30 p.m. (Theatre) * 
Tuesday, August 14, at 7:30 p.m. (Theatre) * 
TANGLEWOOD MUSIC CENTER 

VOCAL FELLOWS AND ORCHESTRA 
JAMES LEVINE, conductor 

(August 11, 12, 14) 
KAZEM ABDULLAH (TMC Fellow), 

conductor (August 13) 
IRA SIFF, director 



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JOHN MICHAEL DEEGAN and 

SARAH G. CONLY, design 
MOZART Cost fan tutte 
(Fully staged production, sung in Italian with 

English supertitles) 

Saturday, August 11, at 6 p.m. «h 

Prelude Concert 

Sunday, August 12, at 10 a.m. 

Chamber Music Concert 

Wednesday, August 15 at 2 p.m. * 

TANGLEWOOD ON PARADE 

To benefit the Tanglewood Music Center 

Afternoon events: TMC Vocal Recital at 
2:30 p.m.; TMC Chamber Music at 3 p.m. 
(CMH); Music for Shakespeare's Macbeth by 
TMC Composition Fellows at 5 p.m., with 
Tina Packer and Shakespeare 8c Company 
actors and the New Fromm Players 

TMC Brass Fanfares at 8 p.m. (Shed) 

Gala Concert at 8 :30 p.m. (Shed) 

TMC ORCHESTRA, BSO, and 
BOSTON POPS ORCHESTRA 

JAMES LEVINE, JOHN WILLIAMS, KEITH 
LOCKHART, and RAFAEL FRUHBECK de 
BURGOS, conductors 

To include music of BERLIOZ, DVORAK, 
BRAHMS, BEETHOVEN, LERNER (from 
My Fair Lady), LLOYD-WEBBER (from 
Phantom of the Opera), EBB (from Chicago), 
JOHN WILLIAMS (Suite bom Jane Eyre), 
and TCHAIKOVSKY {1812 Overture) 

Saturday, August 18, at 6 p.m. J> 

Prelude Concert 

Sunday, August 19, at 10 a.m. 

Chamber Music Concert 



Sunday, August 19, at 2:30 p.m. (Shed) * 

TMC ORCHESTRA 

RAFAEL FRUHBECK DE BURGOS, 

conductor 
TANGLEWOOD FESTIVAL CHORUS, 

JOHN OLIVER, conductor 
BEETHOVEN Symphony No. 9 

Sunday, August 19, at 7:30 p.m. (Theatre) 

Opera Scenes 






TMC TICKETS 

General Public and Tanglewood Donors up to $75: 

For TMC concerts (other than TMC Orchestra con- 
certs and opera performances), tickets are available 
only at the Ozawa Hall Box Office, beginning one 
hour before concert time. Tickets are $11. Please note: 
availability for seats inside Ozawa Hall is limited and 
concerts may sell out. 

Advance tickets for TMC Orchestra concerts 
(July 9; July 16; August 1) and opera performances 
(July 28 Don Carlo; August 11-14 Cost fan tutte) 
are available at the Tanglewood Box Office, by 
calling SymphonyCharge at 1-888-266-1200, or 
at www.tanglewood.org. 

Friends of Tanglewood at the $75 level receive one 
free admission and Friends of Tanglewood at $150 
level or higher receive two free admissions to TMC 
chamber performances or recitals by presenting their 
membership cards at the Bernstein Gate one hour 
before concert time. Additional tickets are $11. For 
information on becoming a Friend of Tanglewood, 
call (413) 637-5261, or visit www.bso.org. 

Further information about TMC events is available at 
the Tanglewood Main Gate, at www.tanglewood.org, 
or by calling (413) 637-5230. All programs are sub- 
ject to change. 






2007 BOSTON UNIVERSITY TANGLEWOOD INSTITUTE 

Concert Schedule (all events in Seiji Ozawa Hall unless otherwise noted) 

ORCHESTRA PROGRAMS: Saturday, July 14, 2:30 p.m. Morihiko Nakahara conducts music 
of Berlioz, Harbison, and Tchaikovsky; Saturday, July 28, 2:30 p.m., Paul Haas conducts 
Monteverdi, Corigliano, and Mahler; Saturday, August 11, 2:30 p.m. David Hoose conducts 
Loeffler and Copland. 

WIND ENSEMBLE PROGRAMS: Friday, July 13, 8:30 p.m. David Martins conducts McTee, 
Camphouse, William Schuman, Dana Wilson, and Sparke; Saturday, July 28, 11:00 a.m. 
H. Robert Reynolds conducts Ticheli, Adams/Spinazzola, Gryc, Grainger, Jonathan Newman, 
Grantham, and a new work by former TMC Fellow Katharine Soper. 

VOCAL PROGRAMS: Saturday, August 4, 2:30 p.m. Ann Howard Jones conducts Corigliano, 
Kim, and Orff. 

CHAMBER MUSIC PROGRAMS: all in the Chamber Music Hall at 6 p.m.: Tuesday, July 17; 
Wednesday, July 18; Thursday, July 19; Monday, August 6; Tuesday, August 7; Wednesday, 
August 8. 

Tickets available one hour before concert time. Admission is $11 for orchestra concerts, 
free to all other BUTI concerts. For more information, call (413) 637-1430. 






In the B erksh ires , Nature Sets Th 



Tanglewood Insert, June 24 to July 31, 2007 

Animagic Museum of Animation, 
Special Effects and Art 

Lee, (413) 841-6679 

www.mambor.com/animagic 

View technologies from the movies like 

The Matrix, Chicken Run. Make your 

animation movie. 

Arrowhead 

Pittsfield, (413) 442-1793 

www.berkshirehistory.org 

Melville's home. Exhibition Fertile Ground: 

Berkshire Artists and Writers: 1846 - 1841. 

Becket Arts Center of Hilltowns 

Becket, (413) 623-6635 
www.becketartcenter.org 
Exhibits, free 6c low tuition. 
Arts Workshops. Ages 5 6c up. 
Free Lasker Lectures, special events. 

Berkshire Botanical Garden 

Stockbridge, (413) 298-3926 

www.berkshirebotanical.org 

Display gardens open 10-5 daily. Garden 

ornament exhibition 6/9 - 8/31, Fete 7/14. 

Berkshire Choral Festival 

Sheffield, (413) 229-8526 

www.choralfest.org 

Choral masterpieces - 200 voices Springfield 

Symphony Orchestra. July 14, 21, 28 at 8 pm. 

Berkshire Museum 

Pittsfield, (413) 443-7171 
www.berkshiremuseum.org 
Kid stuff: Great Toys From 
Our Childhood, July 1 - Sept. 3. 
200 Vintage toys 6c hands-on play. 

Berkshire Music School 

Pittsfield, (413) 442-1411 
www.berkshiremusicschool.org 
Summer Music 6c Theatre Camps. 
Call for brochure. 

Berkshire Opera Company 

Pittsfield, (413) 442-9955 
www.berkshireopera.org 
Moonlight at the Mahaiwe 7/5, 8 pm. 
Berkshire Opera Company conducted 
by Joel Reuzen. 

Berkshire Scenic Railway Museum 

Lenox, (413) 637-2210 
www.BerkshireScenicRailroad.org 
Scenic 90 minute train rides Lenox - 
Stockbridge weekends only. 10 am 6c 2 pm. 
Gilded Age Exhibit. 

The Berkshire Visitors Bureau's Cultural 

Alliance thanks The Studley Press, Inc. 

for donating these pages. 



The Bidwell House Museum 

Monterey, (413) 528-6888 
www.bidwellhousemuseum.org 
1750 Colonial saltbox tours, 11-3. 
Trails. Gardens. Thursday - Monday. 
18th century experience. 

Chester Theatre Company 

Chester, (413) 354-7771 

www.chestertheatre.org 

The Bully Pulpit with Michael O. Smith, 

7/5 - 7/15. The Interview by Faye Sholiton, 

7/18 - 7/29. 

Chesterwood 

Stockbridge, (413) 298-3579 

www.chesterwood.org 

The home of sculptor Daniel Chester French. 

Outdoor exhibition June 22 - October 8. 

The Colonial Theatre 

Pittsfield, (413) 997-4444 

www.thecolonialtheatre.org 

Don't miss the "Summer In The City" series at 

The Colonial in downtown Pittsfield, MA! 

Crane Museum Of Paper Making 

Dalton, (413) 684-6481 

www. cr ane . com 

Crane Museum of Paper Making, June - 

mid October, 1-5 pm. Free admission. 

Frelinghuysen Morris House & Studio 

Lenox, (413) 637-0166 
www.frelinghuysen.org 
Documentary screening party - July 20. 
Guided tours Thurs. - Sun. on the hour. 
Next to Tanglewood. 

Hancock Shaker Village 

Pittsfield, (413) 443-0188 

www.hancockshakervillage.org 

Age of Iron Weekend at Hancock Shaker 

Village. Try your hand as a blacksmith! 

August 18 6c 19. 

IS183 Art School 

Stockbridge, (413) 298-5252 

www.isl83.org 

Art classes for children, teens 6c adults year 

round. Painting, drawing, ceramics 6c more. 

Jacob's Pillow Dance Festival 

Becket, (413) 243-0745 

www.j acob spillow. org 

Royal Danish Ballet - World Premiere 

and Pillow exclusive July 11 to 15, 8 pm. 

Sat. 6c Sun. Matinee. 

The Mac-Haydn Theatre 

Chatham, (518) 392-9292 

www. machaydntheatre . org 

The Pajama Game, Thoroughly Modern Millie, 

White Christmas in theatre-in-the-round! 



cene and Culture Steals The Show 



MASSMoCA 

North Adams, (413) MoCAlll 
www.massmoca.org 

Presenting art from Spencer Finch plus con- 
temporary music - Bang on a Can Festival. 
7/12-28. 

MCLA Gallery 51 

North Adams, (413) 664-8718 

www. mcla. edu/gallery5 1 

Featuring a retrospective of fantastical art 

work by Kent Mikalsen, June 28 - July 22. 

The Mount, Edith Wharton's 
Estate and Gardens 

Lenox, (413) 637-1899 

www.edithwharton.org 

Edith Wharton's elegant 1902 estate. Mansion 

and gardens open daily 9-5 pm. Cafe, shop. 

Naumkeag House & Garden 

Stockbridge, (413) 298-3239, x3000 

www.thetrustees.org 

Music in the garden, Sundays in July. 

7/1, 7/8, 7/15, 7/22, 7/29. From 2 to 3 pm. 

Norman Rockwell Museum 

Stockbridge, (413) 298-4100 

www.nrm.org 

Ephemeral beauty: Al Parker and 

The American Women's Magazine 

1940 - 1960. Through Oct. 28. 

North Adams Museum of History & Science 

North Adams, (413) 664-4700 
www.geocities.com/northadamshistory 
IRON HORSE Talk on railroad's role in NA. 
Sun., June 25, 2 pm. Bldg 4, 
Heritage State Park. Free. 

Pleasant Valley Wildlife Sanctuary 

Lenox, (413) 637-0320 

www.massaudubon.org 

Enjoy 7 miles of well marked walking trails 

on 1300 acres. Open daily, dawn to dusk. 

Upper Housatonic Valley 
National Heritage Area 

Berkshire County (MA) and 

Litchfield County (CT) 

www.housatonicheritage.org 

A catalyst for preserving and celebrating 

our culture, history and natural resources. 

Sculpture Now 

Stockbridge, (413) 623-2068 
Sculpture Now on Main Street 2007. 
21 large outdoor sculptures in 
Stockbridge, MA. June 1 - Oct. 31. 



Shakespeare & Company 

Lenox, (413) 637-3353 

www. Shakespeare.org 

Top tier Shakespeare and important 

new voices. Up to four shows a day. 

Many free programs. 

Sterling and Francine Clark Art Institute 

Williamstown, (413) 458-2303 
www.clarkart.edu 

The Unknown Monet features rarely seen pas- 
tels &. drawings alongside familiar paintings. 

Storefront Artist Project 

Pittsfield, (413) 442-7201 

www.storefrontartist.org 

Selections from the Cultural Corridor, group 

exhibition. Fri. - Sun. 12-5 pm. 124 Fenn St. 

The Theater Barn 

New Lebanon, (518) 794-8989 

www.theaterbarn.com 

Professional Theater in the Country. June - 

October. Area premieres of plays and musicals. 

Ventfort Hall Mansion and 
Gilded Age Museum 

Lenox, (413) 637-3206 
www.gildedage.org 

Tours-exhibits-concerts-theater-lectures-teas- 
private rentals-kids programs-picnics-more. 

William College Museum of Art 

Williamstown, (413) 597-2429 

www. wcma. org 

Making it new: The art and style of Sara and 

Gerald Murphy begins July 8. Free Admission. 

Williamstown Theatre Festival 

Williamstown, (413) 597-3400 

www.wtfestival.org 

Richard Kind in THE FRONT PAGE, 

BLITHE SPIRIT & premiere of VILLA 

AMERICA in July. 

While you're in the Berkshires, be 
sure to come see the Berkshire Visitors 
Bureau s "Discover the Berkshires" Visitor 
Centers in Adams and Pittsfield. Enjoy 
displays, multimedia presentations and 
grab the latest information on Berkshire 
attractions. 




Berkshire Visitors Bureau • 800-237-5747 • www.berkshires.org 
3 Hoosac Street • Adams, MA and 109 South Street • Pittsfield, MA 



EDUCATIONAL DIRECTORY 




Student Musician. Citizen. 

Preparing boys and girls from 
across the country, around the world, 

and down the street for all the 
challenges of college and life beyond. 



Berkshire School 

SHEFFIELD, MASSACHUSETTS 



413.229.851 1 www.berkshireschool.org 




Buxton School 

educating progressively and living intentionally since 1928 



291 South Street Williamstown MA 01267 

www.BuxtonSchoolorg 

413.458.3919 




Shenandoah Conservatory of Shenandoah University 
is proud to announce two very special affiliations 




Shenandoah Conservatory 

• Located in the beautiful Shenandoah Valley 
— just an hour west of Washington, D.C. 

• More than 1 00 faculty and 700 students 

• Excellence in the performing arts since 1 875 

For more information and to schedule a 
campus visit, contact Admissions at 
800.432.2266 



Laurence Kaptain, Dean 

Shenandoah Conservatory 

Voice 540.665.4600 Fax 540.665.5402 

www.su.edu/conservatory 




THETANGLEWOOD BUSINESS PARTNERS 

The BSO gratefully acknowledges the following for their generous contributions of $650 
or more during the 2006-2007 fiscal year. An eighth note ( J>) denotes support of $1,250 
to $2,999. Names that are capitalized recognize gifts of $3,000 or more. 



ACCOUNTING/ 
TAX PREPARATION 

Alan S. Levine, P.C., CPA 
J>Lombardi, Clairmont 8c Keegan 
Mark Friedman, CPA 
Michael G. Kurcias, CPA 
^Warren H. Hagler Associates 

ADVERTISING/PR 

Ed Bride Associates 
JjDC Communications 

ANTIQUES/ 

ART GALLERIES 

Coffman's Antiques Market 
^Country Dining Room Antiques 

DeVries Fine Art 

Elise Abrams Antiques 
J>Hoadley Gallery 

ARCHITECTS 

Christian C. Carey, Architect, PC. 
J>edm - architecture • engineering • 
management 
Edward Rowse Architects 
Hill Engineers, Architects, 
Planners Inc. 

AUTOMOTIVE 

J>Biener Nissan-Audi 

BANKING 

Adams Co-operative Bank 
BERKSHIRE BANK 
Greylock Federal Credit Union 
Lee Bank 
LEGACY BANKS 
Lenox National Bank 
NORTHERN TRUST 
South Adams Savings Bank 
TD BANKNORTH 
jThe Pittsfield Cooperative Bank 

BEVERAGE/FOOD SALES/ 
CONSUMER GOODS 

KOPPERS CHOCOLATE 

^Crescent Creamery 
jGuido's Fresh Marketplace 



CONSULTING: 

MANAGEMENT/FINANCIAL 

Jonas 8cWelsch, PC. 
«hR.L. Associates 
j>Saul Cohen 8c Associates 
JThe Cohen Group 
JThe Marlebar Group 

CONTRACTING/ 
BUILDING SUPPLIES 

Alarms of Berkshire County 
Comalli Group, Inc. 
David J. Tierney Jr., Inc. 
Dettinger Lumber Co., Inc. 
DRESSER-HULL COMPANY 
Great River Construction 
Louis Boxer Builder, LLC 
New England Dynamark 

Security Center 
PETER WHITEHEAD, 
BUILDER 
JlPetricca Construction Co. 
S 8c K Design - Interior Design 

EDUCATION 

Belvoir Terrace - Fine 8c 
Performing Arts Center 
Berkshire Country Day School 
LENOX ATHENAEUM 
Massachusetts College of 

Liberal Arts 
Myrna Kruuse 

Thinking in Music, Inc. - Art 
for Critical Thinking 

ENERGY/UTILITIES 

ESCO Energy Services Co. 
National Grid 

The Berkshire Gas Company 
VIKING FUEL 

ENGINEERING 

^General Systems Company, Inc. 

ENVIRONMENTAL 
SERVICES 

^Berkshire Corporation 
MAXYMILLIAN 

TECHNOLOGIES, INC. 
Nowick Environmental 

Associates 



FINANCIAL SERVICES 

jAbbott Capital Management, 

LLC 
J^Kaplan Associates 

Integrated Wealth Management 
J>Mr. and Mrs. Monroe Faust 
THE BERKSHIRES CAPITAL 

INVESTORS 
The Keator Group 
UBS/Financial Services 

HIGH TECHNOLOGY/ 
ELECTRONICS 

^Leading Edge Concepts 

J>New Yorker Electronics Co., Inc. 

PLASTICS TECHNOLOGY 
LABORATORIES, INC. 

WorkshopLive ! 

INSURANCE 

Bader Insurance Agency, Inc. 
BERKSHIRE LIFE 
INSURANCE COMPANY 
OF AMERICA 
jGenatt Associates 
J'Lawrence V Toole Insurance 
McCormick, Smith 8c Curry 

Insurance, Inc. 
Minkler Insurance Agency, Inc. 
Reynolds, Barnes 8c Hebb, Inc. 
TRUE NORTH INSURANCE, 

INC. 
Wheeler 8c Taylor Inc. 

LEGAL 

Bernard Turiel, Esq. 
.hBraverman and Associates 
CAIN, HIBBARD, MYERS 8c 
COOK 
JCertilman, Balin, Adler 8c 
Hyman LLP 
Cianflone 8c Cianflone, PC 
Deely 8c Deely Attorneys 
Grinnell, Dubendorf, 8c Smith 
.hLester M. Shulklapper, Esq. 
J'Linda Leffert, Attorney 
Michael J. Considine, Attorney 

at Law 
Norman Mednick, Esq 
Philip F. Heller 8c Associates 
J>Roger H. Madon 8c Associates, 

PC. 
.hSchragger, Schragger 8c Lavine 




EILEEN 
FISHER 



24 PLEASANT STREET 
NORTHAMPTON 

COPLEY PLACE 

THE MALL AT 
CHESTNUT HILL 

53 CENTRAL STREET J 
WELLESLEY | 

DERBY STREET SHOPPES 
HINGHAM 

EILEENFISHER.COM 




LODGING/ 
WHERE TO STAY 



REAL ESTATE 



Jvi 804 Walker House 

A Bed 6c Breakfast in the 
Berkshires 

Applegate Inn 

Best Western Black Swan Inn 
J>Birchwood Inn 

BLANTYRE 
J>Brook Farm Inn, Inc. 
.hChesapeake Inn of Lenox 
.hCliffwood Inn 
J>Comfort Inn and Suites Hotel 

CORNELL INN 
J^Cranwell Resort, Spa &c 

Golf Club 
J©evonfield Country Inn 
^Federal House Inn 

Gateways Inn 6c Restaurant 

Inn at Green River 

One Main B6cB 
j^Rookwood Inn 

Spencertown Extended Stays 

STONOVER FARM BED 6c 
BREAKFAST 
«hSummer White house 
jThe Garden Gables Inn 
J>The Inn at Richmond 

The Orchards Hotel 

THE PORCHES INN AT 
MASSMOCA 

THE RED LION INN 
jThe Inn at Stockbridge 

The Weathervane Inn 
jToole Companies - Hospitality 
6c Real Estate 

WHEATLEIGH HOTEL 6c 
RESTAURANT 

Whistler s Inn 

MANUFACTURING/ 
INDUSTRIAL 

AMERICAN TERRY CO. 
.hBarry L. Beyer 

CRANE 6c CAMPANY, Inc. 

Harris Steel Group, Inc. 

HOUSATONIC CURTAIN 
COMPANY, INC. 
J>Ray Murray, Inc. 

SHEFFIELD PLASTICS, INC. 
JThe Kaplan Group 

PRINTING/PUBLISHING 

MRS. ELYANE BERNSTEIN 
6c MR. SOL SCHWARTZ 

QUALITY PRINTING 
COMPANY, INC. 

The Berkshire Eagle 

THE STUDLEY PRESS, INC. 



Barb Hassan Realty Inc. 

Barbara K. Greenfeld 
.hBarrington Associates Realty 
Trust 

Benchmark Real Estate 
J^Budco Management Co. 
jGohen 6c White Associates 

ERSKINE PARK, LLC 

Evergreen Buyer Brokers of 
the Berkshire 

Franz J. Forster Real Estate 

Berkshire Mortgage Company 

Hill Realty, LLC 

Michael Sucoff Real Estate 
J>P 6c L Realty 

Robert Gal LLC 

Roberts 6c Associates Realty, Inc. 

Stone House Properties, LLC 

The Havers 



RESTAURANTS/ 
WHERE TO EAT 



JGafe Lucia 

Castle Street Cafe 

Chez Nous Bistro 

Church Street Cafe 

Cork 'N Hearth 

Firefly 
J>SPICE Restaurant 

RETAIL/WHERE TO SHOP 

Arcadian Shop 

Bare Necessities Fine Lingerie 
J>Carr Hardware 

CASABLANCA 

COUNTRY CURTAINS 
«hE. Caligari 6c Son, Inc. 

Gatsbys 
J>Glad Rags 

GOSHEN WINE 6c SPIRITS, 
INC. 

GREEN RIVER FAMRS 

INITIALLY YOURS - 
MONOGRAMMING 6c 
ENGRAVING 

Limited Edition Lighting 

Mary Stuart Collections 

Nejaime s Wine Cellars 
.POrchids, Etc. of Lee 

Pamela Loring Gifts 6c Interiors 
J>Paul Rich 6c Sons Home 
Furnishings and Design 

R.W. Wise, Goldsmiths, Inc. 

Talbots 
JWard's Nursery 6c Garden Center 
JWindy Hill Farm 



SCIENCE/MEDICAL 

510 Medical Walk-In 

Audrey T. Shulman, PH D 
Speech Language Associates 

Berkshire Health Systems 

Carol Kolton, LCSW 

Donald Wm. Putnoi, M.D. 

Dr. and Mrs G. Michael Peters 

Dr. and Mrs. Jesse Ellman 
J©r. and Mrs. Steven M. Gallant 

Dr. and Mrs. Stuart E. Hirsch 

Dr. Robert and Esther Rosenthal 

Dr. William and Susan Knight 

Ellen H. Frankel, M.D. 

GTL Incorporated; Link to Life 
Jtfrving Fish, M.D. 

J. Mark Albertson, DMD, PA 
J>Katherine D. Hein, M.D. 
j)Leon Harris, M.D. 
j^Lewis R. Dan, M.D. 

Long Island Eye Physicians and 
Surgeons 

Northeast Urogynecology 
^Philadelphia Eye Associates 

Royal Home Health Care 
Services of New York 

SERVICES 

jDery Funeral Home 
J>KRIPALU CENTER FOR 
YOGA 6c HEALTH 

^Foresight Land Services 
jMr. and Mrs. Ukrain 
Mr. Paul Lester 

SOFTWARE/ 
INFORMATION SERVICES 

J>Pilson Communications, Inc. 

STORAGE 

Security Self Storage 
J^SpaceNow! Corporation 

TOURISM/RESORTS 
CANYON RANCH 

TRAVEL 6c 
TRANSPORTATION 

ABBOTT'S LIMOUSINE 6c 
LIVERY SERVICE 

Names listed as of June 15, 2007 



B 
^fc 




Outstanding Performance 

Is In The Details. 



Since our Inception in 1 972, Leslie]. Garfield & Co. Inc. 

has delivered customized service and citywide expertise 

to our residential, institutional and commercial 

clients who value results. 



LESLIE J. GARFIELD & CO., INC. 

REAL ESTATE 



505 Park Avenue, Suite 303* New York, NY 10022 
Tel (212)371-8200 www.lesliejgarfield.com 




ENDOWMENT FUNDS SUPPORTING THE TANGLEWOOD FESTIVAL, 
THETMC, AND YOUTH EDUCATION IN THE BERKSHIRES 

Endowment funds at the BSO provide critical on-going support for the Tanglewood Festival, the 
Tanglewood Music Center, and the BSO's youth education programs at Tanglewood and in the 
Berkshires. Other programs supported by these funds include the BSO's Days in the Arts at Tangle- 
wood and the BSO's Berkshire Music Education. 



-%«*■ 



ENDOWED ARTIST POSITIONS 

Berkshire Master Teacher Chair Fund 
Edward and Lois Bowles Master Teacher Chair Fund 
Richard Burgin Master Teacher Chair Fund 
Charles E. Culpeper Foundation Master Teacher 

Chair Fund 
Eleanor Naylor Dana Visiting Artists Fund 
Vic Firth Master Teacher Chair Fund, 

endowed by Mr. and Mrs. Henry Wheeler 
Barbara LaMont Master Teacher Chair Fund 
Renee Longy Master Teacher Chair Fund, 

gift of Jane and John Goodwin 
Harry L. and Nancy Lurie Marks Tanglewood 

Artist-In-Residence Fund 
Marian Douglas Martin Master Teacher Chair Fund, 

endowed by Marilyn Brachman Hoffman 
Beatrice Sterling Procter Master Teacher Chair Fund 
Sana H. and Hasib J. Sabbagh Master Teacher 

Chair Fund 
Surdna Foundation Master Teacher Chair Fund 
Stephen and Dorothy Weber Artist-In-Residence Fund 

ENDOWED FULL FELLOWSHIPS 

Jane W. Bancroft Fellowship 

Bay Bank/BankBoston Fellowship 

Leonard Bernstein Fellowships 

Edward S. Brackett, Jr. Fellowship 

Frederic and Juliette Brandi Fellowship 

Jan Brett and Joe Hearne Fellowship 

Rosamund Sturgis Brooks Memorial Fellowship 

Tappan Dixey Brooks Memorial Fellowship 

Mary E. Brosnan Fellowship 

BSAV/Carrie L. Peace Fellowship 

Stanley Chappie Fellowship 

Alfred E. Cnase Fellowship 

Clowes Fund Fellowship 

Harold G. Colt, Jr. Memorial Fellowship 

Andre M. Come Memorial Fellowship 

Caroline Grosvenor Congdon Memorial Fellowship 

Margaret Lee Crofts Fellowship 

Charles E. Culpeper Foundation Fellowship 

Darling Family Fellowship 

Omar Del Carlo Fellowship 

Akiko Shiraki Dynner Memorial Fellowship 

Otto Eckstein Family Fellowship 

Friends of Armenian Culture Society Fellowship 

Judy Gardiner Fellowship 

Athena and James Garivaltis Fellowship 

Merwin Geffen, M.D. and 

Norman Solomon, M.D. Fellowship 
Juliet Esselborn Geier Memorial Fellowship 
Armando A. Ghitalla Fellowship 
Fernand Gillet Memorial Fellowship 
Marie Gillet Fellowship 



Haskell and Ina Gordon Fellowship 

Sally and Michael Gordon Fellowship 

Florence Gould Foundation Fellowship 

John and Susanne Grandin Fellowship 

William and Mary Greve Foundation- 
John J. Tommaney Memorial Fellowship 

Luke B. Hancock Foundation Fellowship 

William Randolph Hearst Foundation Fellowship 

Valerie and Allen Hyman Family Fellowship 

C. D. Jackson Fellowship 

Paul Jacobs Memorial Fellowship 

Lola and Edwin Jaffe Fellowship 

Billy Joel Keyboard Fellowship 

Susan B. Kaplan Fellowship 

Steve and Nan Kay Fellowship 

Robert and Luise Kleinberg Fellowship 

Mr. and Mrs. Allen Z. Kluchman Memorial 
Fellowship 

Dr. John Knowles Fellowship 

Naomi and Philip Kruvant Family Fellowship 

Donald Law Fellowship 

Barbara Lee/Raymond E. Lee Foundation Fellowship 

Bill and Barbara Leith Fellowship 

Edward H. and Joyce Linde Fellowship 

Edwin and Elaine London Family Fellowship 

Stephanie Morris Marryott & 
Franklin J. Marryott Fellowship 

Robert G.McClellan, Jr. & 
IBM Matching Grants Fellowship 

Merrill Lynch Fellowship 

Messinger Family Fellowship 

Ruth S. Morse Fellowship 

Albert L. and Elizabeth P. Nickerson Fellowship 

Northern California Fellowship 

Seiji Ozawa Fellowship 

Theodore Edson Parker Foundation Fellowship 

Pokross/Curhan/Wasserman Fellowship 

Lia and William Poorvu Fellowship 

Daphne Brooks Prout Fellowship 

Claire and Millard Pryor Fellowship 

Rapaporte Foundation Fellowship 

Harry and Mildred Remis Fellowship 

Peggy Rockefeller Memorial Fellowship 

Carolyn and George R. Rowland Fellowship 

Saville Ryan/Omar Del Carlo Fellowship 

Wilhelmina C. Sandwen Memorial Fellowship 

Morris A. Schapiro Fellowship 

Edward G. Shufro Fund Fellowship 

Starr Foundation Fellowship 

Anna Sternberg and Clara J. Marum Fellowship 

Miriam H. and S. Sidney Stoneman Fellowships 

Surdna Foundation Fellowship 

James and Caroline Taylor Fellowship 

William F. and Juliana W. Thompson Fellowship 

Continued. . . 



* 



lino a. j3 ji> ei. r e 1 
j e w e 1 y \j 

St 

accessories 





Protect libur Assets. 
Enrich Itibur Life. 

Life in the beautiful Berkshires is 
enhanced by the security and financial 
advantages of Lifecare at Kimball 
Farms. Independent apartments to 
assisted living through skilled nursing 
care frees you to enjoy residing amid 
the lush 63-acre campus, just minutes 
from the cultural attractions of 
downtown Lenox, Massachusetts. 
Call Dolly Curletti, Marketing Director, for a 
brochure or to arrange for a tour, 413-637-7000. 



235 Walker St., Lenox, MA 
kimballfarms. org 




Affiliate of Berkshire Health Systems 



m 



Ushers/Programmers Instrumental Fellowship 

in honor of Bob Rosenblatt 
Ushers/Programmers Harry Stedman Vocal Fellowship 
Wallace-Reader's Digest Fund Fellowship 
Max Winder Memorial Fellowship 
Jerome Zipkin Fellowship 

ENDOWED HALF FELLOWSHIPS 

Mr. and Mrs. David B. Arnold, Jr. Fellowship 

Kathleen Hall Banks Fellowship 

Leo L. Beranek Fellowship 

Felicia Montealegre Bernstein Fellowship 

Sydelle and Lee Blatt Fellowship 

Brookline Youth Concerts Awards Committee 

Fellowship 
Helene R. and Norman L. Cahners Fellowship 
Marion Callanan Memorial Fellowship 
Nat Cole Memorial Fellowship 
Harry and Marion Dubbs Fellowship 
Daniel and Shirlee Cohen Freed Fellowship 
Dr. Marshall N. Fulton Memorial Fellowship 
Gerald Gelbloom Memorial Fellowship 
Adele and John Gray Memorial Fellowship 
Arthur and Barbara Kravitz Fellowship 
Bernice and Lizbeth Krupp Fellowship 
Philip and Bernice Krupp Fellowship 
Lucy Lowell Fellowship 
Morningstar Family Fellowship 
Stephen and Persis Morris Fellowship 
Dr. Raymond and Hannah H. Schneider Fellowship 
Pearl and Alvin Schottenfeld Fellowship 
Edward G. Shufro Fund Fellowship 
Evelyn and Phil Spitalny Fellowship 
R. Arnory Thomdike Fellowship 
Augustus Thorndike Fellowship 
Sherman Walt Memorial Fellowship 
Patricia Plum Wylde Fellowship 

ENDOWED SCHOLARSHIPS 

Maurice Abravanel Scholarship 
Eugene Cook Scholarship 
Dorothy and Montgomery Crane Scholarship 
William E. Crofut Family Scholarship 
Ethel Barber Eno Scholarship 
Richard F. Gold Memorial Scholarship 
Leah Jansizian Memorial Scholarship 
Miriam Ann Kenner Memorial Scholarship 
Andrall and Joanne Pearson Scholarship 
Mary H. Smith Scholarship 
Cynthia L. Spark Scholarship 
Tisch Foundation Scholarship 

ENDOWED FUNDS SUPPORTING THE 
TEACHING AND PERFORMANCE PROGRAMS 

George W. and Florence N. Adams Concert Fund 

Eunice Alberts and Adelle Alberts Vocal Studies Fund* 

Elizabeth A. Baldwin DARTS Fund 

Bernard and Harriet Bernstein Fund 

George & Roberta Berry Fund for Tanglewood 

Peter A. Berton (Class of '52) Fund 

Donald C. Bowersock Tanglewood Fund 

Gino B. Cioffi Memorial Prize Fund 

Gregory and Kathleen Clear DARTS 

Scholarship Fund* 
Phyllis and Lee Coffey Memorial Concert Fund 
Aaron Copland Fund for Music 



Margaret Lee Crofts Concert Fund 
Margaret Lee Crofts TMC Fund 
Paul F. and Lori A. Deninger DARTS 

Scholarship Fund 
Alice Willard Dorr Foundation Fund 
Carlotta M. Dreyfus Fund 
Raymond J. Dulye Berkshire Music Education Fund 
Virginia Howard and Richard A. Ehrlich Fund 
Selly A. Eisemann Memorial Fund 
Elvin Family Fund 
Elise V. and Monroe B. England Tanglewood 

Music Center Fund 
Honorable and Mrs. John H. Fitzpatrick Fund 
Daniel and Shirlee Cohen Freed Concert Fund 
Ann and Gordon Getty Fund 
Gordon/Rousmaniere/Roberts Fund 
Grace Cornell Graff Fellowship Fund for 

Composers at the TMC 
Adele and John Gray Memorial Fellowship 
Heifetz Fund 

Mickey L. Hooten Memorial Award Fund 
Grace Jackson Entertainment Fund 
Grace B. Jackson Prize Fund 
Paul Jacobs Memorial Commissions Fund 
Louis Krasner Fund for Inspirational Teaching 

and Performance, established by 

Marilyn Brachman Hoffman 
William Kroll Memorial Fund 
Lepofsky Family Educational Initiative Fund 
Dorothy Lewis Fund 
Kathryn & Edward M. Lupean & 

Diane Holmes Lupean Fund 
Samuel Mayes Memorial Cello Award Fund 
Charles E. Merrill Trust TMC Fund 
Northern California TMC Audition Fund 
Herbert Prashker Fund 
Renee Rapaporte DARTS Scholarship Fund 
Mr. and Mrs. Ernest H. Rebentisch Fund 
Jules C. Reiner Violin Prize Fund 
Harvey and Elaine Rothenberg Fund 
Helena Rubinstein Fund 
Edward I. and Carole Rudman Fund 
Lenore S. and Alan Sagner Fund 
Renee D. Sanft Fund for the TMC 
Hannah and Ray Schneider TMCO Concert Fund* 
Maurice Schwartz Prize Fund by Marion E. Dubbs 
Ruth Shapiro Scholarship Fund 
Dorothy Troupin Shimler Fund 
Asher J. Shutter Fund 
Evian Simcovitz Fund 
Albert Spaulding Fund 
Jason Starr Fund 
Tanglewood Music Center Composition 

Program Fund 
Tanglewood Music Center Opera Fund 
TMC General Scholarship Fund 
Denis and Diana OsgoodTottenham Fund 
The Helen F Whitaker Fund 
Gottfried Wilfinger Fund for the TMC 
John Williams Fund 
Karl Zeise Memorial Cello Award Fund 
Jerome Zipkin DARTS Fund 
Anonymous (1) 

*Def erred gifts 

Listed as of June 12, 2007 



V 



S 
I 




CAPITAL AND ENDOWMENT CONTRIBUTORS 

The Boston Symphony Orchestra is committed to providing the highest 
caliber performances and education and community outreach programs, 
and to preserving its world-renowned concert facilities. Contributions 
from donors and income from the endowment support 40 percent of the 
annual budget. The BSO salutes the donors listed below who made 
capital and endowment gifts of $10,000 or more between June 1, 2006 
and May 31, 2007. For further information, contact Peter Minichiello, 
Director of Development, at (617) 638-9260. 



$1,000,000 and Above 

Sophia and Bernard Gordon 
Estate of Richard L. Kaye 



The Wallace Foundation 
Anonymous (2) 



$500,000-$999,999 

Advent International Corporation 
Alan and Akiko Shiraki Dynner 
Lizbeth and George Krupp 



Estate of Vera M. MacDonald 
Estate of Helen Zimbler 



$250,000 -$499,999 

Estate of Mary E. Brosnan 
Calderwood Charitable Foundation 
Sally and Michael Gordon 



Valerie A. and Dr. Allen I. Hyman 
Anonymous 



$100,000 -$249,999 

Mr. William I. Bernell 
Brad and Terrie Bloom 
William P. Collates and 

Linda C. Wisnewski 
Cynthia and Oliver Curme / 

The Lost and Foundation, Inc. 



Estate of Carolyn Ann Dirts 
Mrs. Harriett M. Eckstein 
Mr. and Mrs. Paul M. Montrone 
Estate of Sylvia Perkins 
Estate of Hope P. Stokes 
Anonymous (2) 








$50,000-599,999 

Catherine and Paul Buttenwieser 

Chris and Keena Clifford 

Mr. and Mrs. Roy F. Coppedge III 

Ginger and George Elvin 

Nancy J. Fitzpatrick and Lincoln Russell 

$25,000 -$49,999 

Estate of Anne C. Booth 
Mr. and Mrs. Robert W. Doran 
Estate of Frances Fahnestock 
The Grammy Foundation 
Dr Lynne B Harrison 

$15,000 -$24,999 

Estate of Elizabeth A. Baldwin 
Fairmont Hotels & Resorts 
Mr. Daniel Freed, in memory of 

Shirlee Cohen Freed 
Stephen F Gormley 
Estate of Jas. Murray Howe 

$10,000-$14,999 

Estate of Suzannah C. Ames 
Association for Recorded Sound 

Collections 
Robert and Elana Baum 
Michael and Renee Child 
Mr. and Mrs. Abram T. Collier 
Mr. Saul and Mrs. Mimi Cohen 
The Cosette Charitable Fund 
Marion Gardner- S axe and Leonard Saxe 
Mr. and Mrs. Daniel S. Gregory 



Mr. Ernest K. Jacquet 
Mrs. Mary S. Kingsbery 
Susan and Dan Rothenberg 
John and Ann Ellen Rutherford 
Mr. and Mrs. John Williams 



Estate of Klaus Peter Kuschel 
Estate of Elizabeth H. Marshall 
Estate of Bernice H. Nollman 
Mr. Harold I. Pratt 
Anonymous 



Estate of Grace E. Saphir 
Thermo Fisher Scientific 

International Inc. 
Mr. and Mrs. John L. Thorndike 
Anonymous (2) 



Estates of George F. and Elsie B. 

Hodder 
Dorothy and Charlie Jenkins 
Mr. and Mrs. Jerry Jordan 
O.C.F Foundation, Inc. 
Mr. Kenneth S. Recu 
Hinda L. Shuman 
Mr. and Mrs. James V. Taylor 
Anonymous (2) 



J* 

m 



■ 




Favorite Restaurants of the Berkshires 



CUCI94A riALIfAtifA 

'Enjoy Authentic Italian 
'food in the ( Berk§hires 
www.trattoria-vesuvio.com 

VRWTTO'Rjn. "IL lSESIil/10" 

JtpUmS 7&Z0, Umx, 5WJ1 01240 (413) 637-4904 




fclrc Street Market, 

BREAKFAST, LUNCH\tgO\L GOSSIP SERVED. 

TANOLEWOOD PICNIC BASKETS AVAILABLE. 

STOCKBRIDGE/MA- 413-298-3634 



r^2><L-&—2e^> 




^^SiS-KIff - ^^^ 



C IKRGDI6 

restaurantVcreperie 

"French food without the attitude" 

Breakfast, Lunch & Dinner 

18D Franklin Street, Lenox, MA 

413.637.8266 baroods.com 



BOMBAY CLASSIC INDIAN cuisine 

LUNCH • DINNER • WEEKEND BRUNCH 



EXCELLENT BY ZAGAT 2005-( 



435 LAUREL STREET (AT BEST WESTERN), LEE, MA 
www.pappadums.com www.karavallilatham.com 



TanruUar food 

with, a tu>ut. 




SPICE. 

Restaurant, Bar & Lounge 

Lunch & Dinner Open 7 Days! www.spice-restaurant.com 
297 North Street, Pittsfield, MA 413-443-1234 



nn 



Cjnoco/a/e 
springs 

Cafe 

Route 7. Lenox. MA 



Our Own 

Ice Cream & 

Sorbets 

(413) 637-9820 

WWW.CH0C01ATESPRINGS.COM 



Us 




gug. 



restaurant &histrQ 

d cenEr street west btrxxonoge MA. U1 2t>e 

Tel: (413) 232 41 11 Fax:(413)232 01111 

wwwjougerestawant.com 



Old Yfrld Charm £t|te§est 

Gourmet dining in a cozy, candlelit atmosphere 

with a distinct bar and lounge in downtown 
Lenox. Serving lunch and dinner or join us after 
the show. We offer the largest selection of single- 
malts in Berkshire County. Multi-year Wine 
Spectator and Sante Magazine award winner. 




«-^- mrxsi at The Gateways Inn, 
/wks^My 51 W\lker Street, Lenox 



GATEWAYSINN.COM 



Favorite Restaurants of the Berkshires 



^'Comparable to the Best in NYC" Zagat 1004 



(UXEN 



Gourmet Japanese Cuisine 8c Sushi Bar 

7 Railroad, Great Barrinqton, MA 413-528-434: 



Tatami Rooms Kaiseki Robata Bar 



HONEST 
FOOD 




SATISFACTION 
GUARANTEED 



Open aD day weekends (brunch served) • New Menu! 

Main St. Housatonic (413)274-1000 

www.jacksgrill.com 













The Region 's 
Magazine 
of Home & 
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WWW.BERKSHIREHOMESTYLE.COM 




every 21 seconds 

the music stops 

when someone sustains 
a traumatic brain injury 

The Berkshire Brain Injury 
Support Group of the 
Massachusetts Brain Injury 
Association offers support, 
education, prevention, and 
advocacy throughout the 
Berkshire Hills. 

www.mbia.net 1 -800-242-0030 




This is Berkshire Living. 







Pick up the latest issue at newsstands 
and bookstores. 

To subscribe call toll-free 1 .866.344. 1312 

or online visit www.BerkshireLivins.com 













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A community of interest makes for an interesting community. At Veridian 
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Allen Edmonds 

Anichini Company Store 

Baccarat 

Banana Republic 

BCBGMAXAZRIA 

Ben & Jerry's 

Brooks Brothers 

Coach 

The Cosmetics Company Store 

Crabtree & Evelyn 

Depot 62, Home 

Furnishings Center 
Depot Cafe, Organic Dining 
Escada Company Store 
Five Seasons - Lilly Pulitzer 

Signature Store^NEW 
Furla STORE/ 

Giorgio Armani General Store 

Hickey-Freeman/Bobby Jones 

J. Crew 

Johnston & Murphy 

Jones New York 

Mikasa 

Movado 

Overland 

Peruvian Connection 

Polo/Ralph Lauren 

Reed & Barton/Belleek 

Sanctuary-Turkish and 

Tibetan Rugs 
Simple Coffeeworks 

Theory NEW STORK r 
Traditions 

TSE 

Tumi 

The Vermont Bird Place JVEu/ 

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Yankee Candle Company 

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Phone (800) 955. SHOP 

©MDO, 2007 



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ESCADA 1 



To request a coupon book email 
.j lana@manchesterdesigneroutlets.com 
igr Include "tanglewood" in the subject 
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is 



4H 















THE BOSTON POPS 


Violas 


Bass Clarinet 






ORCHESTRA 


Cathy Basrak 
Edward Gazouleas 
Robert Barnes 


Craig Nordstrom 
Bassoons 






KEITH LOCKHART 


Michael Zaretsky 


Richard Ranti 






Conductor 


"Mark Ludwig 


Suzanne Nelsen 






Julian and Eunice Cohen 


* Rachel Fagerburg 








Boston Pops Conductor's Chair, 


"Kazuko Matsusaka 


Contrabassoon 






fully funded in perpetuity 


* Rebecca Gitter 

* Marvin Moon 


Gregg Henegar 






JOHN WILLIAMS 

Laureate Conductor 


Cellos 

Martha Babcock 
Helene and Norman L. 
Cahners Chair, fully 


Horns 

Richard Sebring 
Daniel Katzen 
Jay Wadenpfuhl 
Jason Snider 






First Violins 


funded in perpetuity 


Jonathan Menkis 






Tamara Smirnova 


Sato Knudsen 








Beranek Chair, 


Mihail Jojatu 


Trumpets 






fully funded in perpetuity 


Luis Leguia 


Thomas Rolfs 






Alexander Velinzon 


"Jerome Patterson 


Roberta and Stephen 






Edward and Bertha C. 


"Jonathan Miller 


R. Weiner Chair, fully 






Rose Chair, fully funded 


"Owen Young 


funded in perpetuity 






in perpetuity 


"Andrew Pearce 


Benjamin Wright 






Elita Kang 


* Mickey Katz 


Peter Chapman 






Bo Youp Hwang 










Eunice and Julian Cohen 


Basses 


Trombones 






Chair, fully funded in 


Lawrence Wolfe 


Norman Bolter 






perpetuity 


Dennis Roy 


§ Darren Acosta 






Ikuko Mizuno 


John Salkowski 








Amnon Levy 


"James Orleans 


Bass Trombone 






* Jennie Shames 


'"'Todd Seeber 


Douglas Yeo 






"'Valeria Vilker Kuchment 


"John Stovall 








*Tatiana Dimitriades 


"Benjamin Levy 


Tuba 






*Si-Jing Huang 




Mike Roylance 






"'Nicole Monahan 


Flutes 








* Wendy Putnam 


Elizabeth Ostling 


Timpani 






*Xin Ding 


Mr. and Mrs. William F. 


Timothy Genis 






*Glen Cherry 


Connell Chair, fully 








*Julianne Lee 


funded in perpetuity 


Percussion 

Frank Epstein 






Second Violins 


Piccolo 


J. William Hudgins 






Vyacheslav Uritsky 


Cynthia Meyers 


§ Richard Flanagan 






Ronald Knudsen 


John A. and Sarah C.C. 








Joseph McGauley 


MacLeod Chair 


Harp 






Ronan Lefkowitz 




Ann Hubson Pilot 






"Nancy Bracken 


Oboes 








*Aza Raykhtsaum 


Keisuke Wakao 


Librarians 






"Bonnie Bewick 


Mark McEwen 


Marshall Burlingame 






* James Cooke 




William Shisler 






"Catherine French 


English Horn 


John Perkel 






* Kelly Barr 


Robert Sheena 








"Polina Sedukh 




Personnel Managers 






* Jason Horowitz 


Clarinets 

Thomas Martin 
§ Ian Greitzer 


Lynn G. Larsen 
Bruce M. Creditor 

Stage Manager 

John Demick 




"'Participating in a system 




of rotated seating 










§ Substituting 















., „-.,- -| 






Keith Lockhart 

During the 2007 season, his thirteenth as Boston Pops 
Conductor, Keith Lockhart surpassed the milestone of 
his 1,000th Boston Pops concert. In February 1995 he 
was named 20th Conductor of the Boston Pops Orches- 
tra since its founding in 1885. During his tenure, he 
has made 64 television shows, including 38 new pro- 
grams for PBS's Evening at Pops; the annual July 
Fourth spectacular, produced by Boston's WBZ-TV 
and shown nationally on CBS Television; and the orchestra's 
annual holiday special, produced and aired in Boston on WBZ-TV. The Boston 
Pops' 2002 July Fourth broadcast was Emmy-nominated, and the Evening at Pops tele- 
cast of "Fiddlers Three" won the 2002 ASCAP Deems Taylor Award. Keith Lockhart 
was an October 2006 recipient of the Bob Hope Patriot Award. He has led the Boston 
Pops on 29 national tours, four overseas tours of Japan and Korea, and in performances 
at Carnegie Hall and Radio City Music Hall. Under his direction the orchestra has per- 
formed to enthusiastic audiences in concert halls and sports arenas across the country. 
In September 2004 they appeared live on national television with Sir Elton John during 
the NFL Season Kickoff special. In February 2002 Mr. Lockhart led the Boston Pops in 
the pre-game show of Super Bowl XXXVI at the Louisiana Superdome in New Orleans. 
In November 2004 he and the Boston Pops released Sleigh Ride, the orchestra's first 
self-produced recording, which was followed in June 2005 by America. Both recordings 
are available online through www.bostonpops.org. Keith Lockhart and the Boston Pops 
Orchestra recorded eight albums with RCA Victor — Runnin' Wild: The Boston Pops Play 
Glenn Miller, American Visions, the Grammy-nominated The Celtic Album, Holiday 
Pops, A Splash of Pops, Encore!, the Latin Grammy-nominated The Latin Album, and 
My Favorite Things: A Richard Rodgers Celebration. 

Born in Poughkeepsie, N.Y., in November 1959, Keith Lockhart began his musical 
studies with piano lessons at the age of seven. He holds degrees from Furman University 
in Greenville, S.C., and Carnegie-Mellon University in Pittsburgh. Mr. Lockhart came 
to the Boston Pops from Cincinnati, where he served as associate conductor of both the 
Cincinnati Symphony and Cincinnati Pops orchestras. Music Director of the Utah Sym- 
phony since 1998, Mr. Lockhart led that orchestra at the 2002 Winter Olympic Games 
in Salt Lake City. Named artistic advisor of the Brevard Music Center in June 2006, 
Mr. Lockhart will assume that position with the North Carolina summer educational 
institute and festival in October 2007. As a guest artist, Mr. Lockhart has conducted the 
major symphony orchestras of Baltimore, Chicago, Cincinnati, Cleveland, Columbus, 
Dallas, Edmonton, Houston, Los Angeles, Minnesota, Montreal, New York, Philadelphia, 
Saint Louis, San Francisco, Singapore, Toronto, and Vancouver as well as the Royal 
Scottish National Orchestra, Los Angeles Chamber Orchestra, St. Paul Chamber Orches- 
tra, New York Chamber Symphony, New Japan Philharmonic, Deutsches Symphonie- 
Orchester in Berlin, and Concertgebouw Orchestra of Amsterdam. He led his first major 
opera production, Douglas Moore's The Ballad of Baby Doe, with the Washington (D.C.) 
Opera and in spring 2004 made his Boston Lyric Opera debut with Puccini's Tosca. He 
returned to BLO in November 2006 for Madama Butterfly. As music director of the 
Utah Symphony, he has led productions of Britten's A Midsummer Night's Dream and 
Puccini's La Rondine. Visit www.keithlockhart.com for further information. 



H 



THE BOSTON POPS ORCHESTRA 
KEITH LOCKHART, Conductor 

JOHN WILLIAMS, Laureate Conductor 
Tuesday evening, July 10, 2007, at 8:30 



KEITH LOCKHART conducting 

Boston Pops at Tanglewood Series sponsored by Cunard Line 

Rodgers & Hammerstein's 

CAROUSEL 

A Concert 

Music by Richard Rodgers • Book and lyrics by Oscar Hammerstein II 

Based on Ferenc Molnar's play "Liliom" as adapted by Benjamin F. Glazer 

Original dances by Agnes de Mille 

Orchestrations by Don Walker • Dance arrangements by Trude Rittmann 

Concert adaptation by Tom Briggs 

Casey Hushion, stage director 
Lawrence Goldberg, music director 
Tim Bennett, assistant stage director 

Aaron Lazar (Billy Bigelow) 
Rebecca Eichenberger (Nettie Fowler) 

Eve-Lyn de la Have* (Julie Jordan) 

Rebecca Jo Loeb* (Carrie Pipperidge) 

Matthew Anderson* (Enoch Snow) 

Mischa Bouvier* (Jigger Craigin) 

Patrick Shea (Narrator) 

Paula Plum (Mrs. Mullen) 

Jaclyn Sabogal (Louise Bigelow) 

Andrew Kotzen (Enoch Snow, Jr.) 

Natasha Ashworth (Miss Snow) 

Members of the Tanglewood Festival Chorus, John Oliver, Conductor 

ACT ONE 

The Carousel Waltz 

You're a Queer One, Julie Jordan 

Mister Snow 

If I Loved You 

June Is Bustin' Out All Over 

Mister Snow (reprise) 

When the Children Are Asleep 

Blow High, Blow Low 

Soliloquy 

Act I Finale 

INTERMISSION 



State Street Global Advisors is proud to sponsor the 2007 Tanglewood season. 









BOSTON 



■ 




ACT TWO 

Entr'acte 

A Real Nice Clambake 

Geraniums in the Winder 

Stonecutters Cut It On Stone 

What's the Use of Wond'rin'? 

You'll Never Walk Alone 

The Highest Judge of All 

Ballet 

If I Loved You (reprise) 

Finale Ultimo: You'll Never Walk Alone (reprise) 

Exit Music 



Fellows of the Tanglewood Music Center 



The Boston Pops Orchestra may be heard on Boston Pops Recordings, RCA Victor, Sony 
Classical, and Philips Records. 



The BSO welcomes aboard Cunard Line as our Official Cruise Line and sponsor of 
the Boston Pops at Tanglewood Series and the Tanglewood Jazz Festival. Cunard Line's 
fleet comprises The Most Famous Ocean Liners in the World (sm): Queen Mary 2, 
QE2, and their newest royal, Queen Victoria. During its storied 167-year history, 
Cunard's renowned ships have transported society's luminaries, notables, and famed 
artists around the world in unrivaled style. "Cunard Line is proud to sponsor the 
Boston Pops Series at Tanglewood and the Tanglewood Jazz Festival," said Carol 
Marlow, President and Managing Director of Cunard Line. "Supporting the arts 
continues to be an important endeavor and very much a part of the rich history of 
our company and culture. We're delighted to partner with the Boston Symphony Or- 
chestra — like our prestigious fleet of ocean liners, a true international treasure." 



Established in 1903, the Boston Symphony Pension Institution is the oldest among 
the American symphony orchestras. In recent years the Pension Institution has paid 
over $2.5 million annually to nearly one hundred pensioners or their surviving 
spouses. Pension Institution income is derived from Pension Fund concerts and from 
Open Rehearsals at Symphony Hall and at Tanglewood. Contributions are also made 
each year by the Boston Symphony Orchestra, Inc. Representatives of the Players and 
the Corporation are members of the Pension Institution's Board of Directors. 




Aaron Lazar 

Aaron Lazar (www.aaronlazar.com) recently garnered 
critical acclaim for his performance as Enjolras, the 
leader of the student revolutionaries, in the 2006 
Broadway revival of Les Miserables, earning a 2007 
Drama Desk Nomination for Outstanding Featured 
Actor in a Musical. Mr. Lazar previously starred on 
Broadway as Fabrizio Nacarelli in Lincoln Center's 
Tony Award-winning production of The Light in the 
Piazza, a role he also played to national television audiences on 
PBS's "Live from Lincoln Center" broadcast of the musical. Other Broadway/West 
End appearances include The Phantom of the Opera, the Broadway revival of Okla- 
homa!, The Scarlet Pimpernel, and the role of Gabey in the historic 2005 production 
of On The Town at English National Opera. Originally from Cherry Hill, New Jersey, 
Mr. Lazar has traveled the world singing. Most recently he performed in Israel at the 
base of Masada in the Judean Desert as Adam/Silva in a concert performance of the 
Broadway-bound musical Imagine This. He has been a guest artist with Peter Nero 
and the Philly Pops, and this summer performs with Marvin Hamlisch and the Nation- 
al Symphony Orchestra at Wolf Trap. In August he will star opposite Reba McEntire 
and Brian Stokes Mitchell as Lt. Joe Cable in South Pacific at the Hollywood Bowl. 
Aaron looks forward to this fall when he will be recording/starring in London as a 
lead member of ENCORE, Sony/BMG and Jonathan Shalit's newest recording phe- 
nomenon, whose first album is to be released this Christmas. 




Rebecca Eichenberger 

Rebecca Eichenberger last played Nettie Fowler in the 
critically acclaimed national tour of Carousel directed 
by Nicholas Hytner. She also appeared in the Tony 
Award-winning production at Lincoln Center. Rebecca 
has performed the role of the opera diva Carlotta in 
the Broadway production of The Phantom of the 
Opera. Other Broadway credits include 1776, A 
Grand Night for Singing, and The Frogs. Rebecca 
received a Helen Hayes Award nomination for her portrayal of 
Mother in the national tour of Ragtime. Her regional credits include Susanna/Ruth's 
Mother in Dessa Rose at Lincoln Center, Dot in Sunday in the Park with George at 
Seattle Rep, Sharon in Master Class at the George Street Playhouse, and Laurey in 
Oklahoma! at Los Angeles Opera. Rebecca made her debut with the Denver Symphony, 
and recently performed concerts with John McDaniel and the Oklahoma City and 
Indianapolis symphonies. She can be heard on the cast recordings of Carousel, The 
Frogs, Dessa Rose, and Broadway by the Year (1951), recorded live at New York's 
Town Hall. Rebecca Eichenberger is a Met Opera Regional Finalist and lives outside 
New York City with her husband and two children. 








Eve-Lyn' de la Haye 

Canadian soprano Eve-Lyn de la Haye is a recent grad- 
uate of the University of Toronto's Opera Diploma 
Progamme and remains a student of Mary Morrison. 
In her hometown of Victoria, B.C., she studied with 
Selena James at the Victoria Conservatory of Music 
where she completed her Diploma in Music as well 
as associate degrees in both teaching and vocal per- 
formance. Ms. de la Haye is an active soloist; some 
of her performances include Carmina burana on Saltspring Island, 
B.C., and Messiah with the Kamloops Symphony Orchestra. She recently made her 
CBC recording debut in the Canadian work Six Voices for Sirens by Ana Sokolovic. 
Her most recent operatic roles include Lucia in Britten's The Rape of Lucretia, Adele 
in Die Fledermaus, Antonia in The Tales of Hoffmann, and Tytania in Britten's A Mid- 
summer Night's Dream. She has participated in many of Canada's leading summer 
opera programs including the Opera as Theatre program at the Banff Centre and 
Opera NUOVA in Edmonton. Last summer she sang and studied in Italy at Centro 
Studi Lirica and was a finalist representing Canada in an International Competition in 
Marmande, France. She is spending the summer at the Tanglewood Music Center where 
she sings Julie Jordan in the musical Carousel with the Boston Pops. This fall she will 
be joining Calgary Opera's Emerging Artist Program for the 2007-08 season. 




Rebecca Jo Loeb 

A native of New Jersey, Rebecca Jo Loeb just complet- 
ed her master's degree at the Manhattan School of 
Music, where she studied with Edith Bers. While there 
she performed the roles of Dorthee in Cendrillon and 
Madama Brilliante in Cimarosa's Uitaliana in Londra. 
At the University of Michigan, where she won the 
prestigious Stanley Medal, she performed the roles 
of Elmire in Tartuffe and Hansel in Hansel and 
Gretel, among others. Rebecca has been Bonfils-Stanton apprentice 
at Central City Opera, a member of the Aspen Opera Theatre, and has coached or 
performed with such noted artists as Warren Jones, Martin Katz, Leonard Slatkin, 
Catherine Malfitano, and Louise Urbain. This fall, Ms. Loeb will continue her studies 
at the Juilliard School. 




Matthew Anderson 

Matthew Anderson has been praised for the warm tenor 
voice and polished musicality he brings to the reper- 
toire of oratorio, opera, and musical theater. Recently 
he appeared in a season of education and outreach 
performances with the Cincinnati Opera Resident 
Ensemble. Past performances of opera and musical 
theater include The Turn of the Screw (Quint), The 
Bartered Bride (Jenik), Orfeo (Shepherd), H.M.S. 
Pinafore (Ralph Rackstraw), Sweeney Todd (Anthony), and Into the 
Woods (the Baker). He was a featured soloist in the final gala concert of "Leonard 
Bernstein, Boston to Broadway" concerts and symposia at Harvard University. An 
accomplished interpreter of Baroque and early music, Mr. Anderson was a national 
finalist and prizewinner in the 2006 American Bach Society Vocal Competition. He 
has appeared as a soloist with Emmanuel Music's Bach Cantata Series, the Handel 
and Haydn Society, Williamstown Early Music, Musica Maris, Concord Chorus, and 
Newton Choral Society. Mr. Anderson was heard at the Carmel Bach Festival in 
Monteverdi's Vespers of 1610 and Handel's Israel in Egypt, and in the title role of 
Matthew Locke's The Mask of Orpheus. He studied Classics at Harvard University 
and voice at the New England Conservatory. A native of Kansas, he currently resides 
in the Boston area. 




MlSCHA BOUVIER 

Hailed as a "polished performer with a very well-han- 
dled voice" and noted for his "solemn and distin- 
\ guished" singing, baritone Mischa Bouvier continues 
to gain acclaim for his opera, concert, and recital 
work. Recent and future engagements include Bach's 
Christ lag in Todesbanden with the Long Island Phil- 
I harmonic; the roles of Bardolph and Chief Justice 
in Plump Jack with the New Mexico Symphony 
Orchestra and Mexico's Sinaloa Symphony; the title role in Hercules 
for the American Handel Society at Princeton University; baritone soloist in Voices of 
Light with the Lebanon Symphony Orchestra and Anonymous 4; and performances 
with the Bach and Baroque ensemble and the Catacoustic Consort. Mr. Bouvier holds 
degrees from Boston University and the University of Cincinnati. He was a finalist in 
the American Bach Society and the Oratorio Society of New York competitions and 
has received fellowships from the Carmel Bach Festival and Internationale Meisterkurse 
fur Musik Zurich. 




Patrick Shea 

Patrick Shea is the star of Boston's comedy hit, Shear 
Madness, the longest running non-musical play in the 
\ history of the American theater (Guinness Book). 
For his work in the Los Angeles production of Shear 
Madness, he was the recipient of a Dramalogue Award. 
He has worked both on and off-Broadway (in such 
i productions as Child's Play and with such companies 
as the New York Shakespeare Festival) as well as 
in critically acclaimed leading roles at the Wilbur, Downstairs at 
the Improv, Merrimack Repertory Theater, Nickerson Theaters, Worcester Foothills, 
Gloucester Stage, and American Stage Festival. He has also worked as an actor in both 
film and television and can be seen in the feature film Mystic River, directed by Clint 
Eastwood. He is occasionally seen as a "Dave Double" on The Late Show With David 
Letterman on CBS. He has worked in radio as a producer, actor, production manager, 
talk host, and as morning drive "jock" at WCOZ-FM, WHJY-FM, and WBOS-FM. 
He is an on-camera and voice-over talent for major advertisers in New England and 
around the country. In addition, he is a corporate spokesperson for several national 
and international companies both on-camera and at live events and trade shows here 
and abroad. 




Paula Plum 

Paula Plum is the recipient of three IRNE Awards, the 
1995 and 2007 Eliot Norton Awards for Best Actress, 
the 2004 Eliot Norton Award for Sustained Excellence, 
and the 2003 Distinguished Alumni Award from 
Boston University. She is an actress, director, writer, 
and teacher and has enjoyed (so far) 30 years on vir- 
tually all of Boston's stages. A founding member of 
the Actors' Shakespeare project {Richard III, Measure 
for Measure, and All's Well That Ends Well), she has created seven 
one-person shows for the Undadilla Theatre of Vermont, most notable Plum Pudding 
(IRNE for Best Actress, 1993). With the Commonwealth Shakespeare Co. she played 
Portia in Julius Caesar and Trinculo in The Tempest, and with the Actors' Shakespeare 
Project, the Countess in All's Well, Margaret in Richard III, and Mistress Overdone in 
Measure for Measure. She has appeared with Lyric West, Gloucester Stage Company, 
American Repertory Theatre, and Lyric Stage Company. In 1998 she was directed by 
Eric Engel in the award-winning production Sing Me to Sleep by John Kuntz and 
again in 1999 in Kuntz's Miss Price. Film credits include Mermaids, Malice, and Next 
Stop Wonderland. On television she has been seen on Science Court (three seasons 
ABC) and was co-creator and star of The Dick & Paula Celebrity Special for FX. In 
January 2005 she premiered her new work "Wigged OUT!" with Leslie Dillen's 
"Dressed UP!" (directed by Karen MacDonald), for which she received the IRNE for 
Best Solo Performance 2005. Her directing credits include Lone Star, Laundry & 
Bourbon (Alley Theatre), Lady and the Clarinet (New Ehrlich), I'm Not Rappaport 



a 



(Gloucester Stage Co.), Jake's Women (Merrimack Repertory Theatre), and Right You 
Are If You Think You Are (University of Illinois). Ms. Plum's teaching credits include 
UNCA, University of Illinois, and Adjunct Professor of Acting at UMass Lowell and 
Boston Conservatory, and Actors' Shakespeare Project Teachers' Institute. A cum 
laude graduate of Boston University, she is married to actor Richard Snee. 



Jaclyn Sabogal 

Jaclyn is excited to make her Tanglewood and Symphony 
Hall debuts in Carousel with Keith Lockhart and the 
Boston Pops. She has appeared on many regional 
stages with favorite roles in A Christmas Carol (Trinity 
Rep) at the Majestic Theatre, The Little Prince (BLO) 
at the Shubert Theatre, Beauty and the Beast (Whee- 
lock), Aida, and Carousel (NSMT). Her original 
recording of The Dream Held in Your Eyes is now 
available. Jaclyn thanks the Boston Pops "Carousel family," Jane 
Staab, and John La Rock for this wonderful opportunity. 





Andrew Kotzen 

Andrew Kotzen (Enoch Jr.) is thrilled to be working 
with Keith Lockhart and the Boston Pops in Carousel. 
Andrew's previous credits include Beauty and the Beast 
at Wheelock Family Theatre (ensemble), Wellesley 
College Theatre, and the Freelance Players. Andrew 
just finished performing as Mr. Mushnik in Little 
Shop of Horrors at Stagedoor Manor, where he has 
also appeared in Will Rogers Follies (Cowboy) and 
Seussical the Musical (Horton the Elephant). Andrew thanks his 
family for supporting him and Jane Staab for this amazing opportunity. 




Natasha Ashworth 

Natasha is honored to both debut at Tanglewood and 
reprise the role she played in North Shore Music 
Theater's 2001 production of Carousel, also featuring 
Aaron Lazar. Natasha's regional credits include 
A Christmas Carol (Martha Cratchit), Hairspray 
(Louann), Charlotte's Web (Charlotte), Seussical Jr. 
(Gertrude McFuzz), Cinderella Jr. (Fairy Godmother), 
Rapunzel (Rapunzel), A Little Night Music (Fred- 
rika), The Little Princess (Lavinia), The Crucible (Betty Paris), and 
La boh erne (New York City Opera). She is a musical theater major at the College- 
Conservatory of Music in Cincinnati. 








Tanglewood Festival Chorus 
John Oliver, Conductor 

The Tanglewood Festival Chorus celebrated its thirty- 
fifth anniversary in the summer of 2005. The chorus 
was organized in the spring of 1970, when founding 
conductor John Oliver became director of vocal and 
choral activities at the Tanglewood Music Center. 
Made up of members who donate their services, and 
originally formed for performances at the BSO's 
summer home, the Tanglewood Festival Chorus is now the offi- 
cial chorus of the Boston Symphony Orchestra and Boston Pops, performing in 
Boston, New York, and at Tanglewood. The chorus has also performed with the Boston 
Symphony in Europe under Bernard Haitink and in the Far East under Seiji Ozawa. 
It can be heard on Boston Symphony recordings under Ozawa and Haitink, and on 
recordings with the Boston Pops Orchestra under Keith Lockhart and John Williams, 
as well as on the soundtracks to Clint Eastwood's Mystic River, Steven Spielberg's 
Saving Private Ryan, and John Sayles's Silver City. In February 1998, singing from the 
General Assembly Hall of the United Nations, the chorus represented the United 
States in the Opening Ceremonies of the 1998 Winter Olympics when Seiji Ozawa led 
six choruses on five continents, all linked by satellite, in Beethoven's Ode to Joy. The 
Tanglewood Festival Chorus gives its own Friday-evening Prelude Concert each sum- 
mer in Seiji Ozawa Hall and performed its own debut program at Jordan Hall at the 
New England Conservatory of Music in May 2004. 

In addition to his work with the Tanglewood Festival Chorus, John Oliver was for 
many years conductor of the MIT Chamber Chorus and MIT Concert Choir, and a 
senior lecturer in music at MIT. Mr. Oliver founded the John Oliver Chorale in 1977; 
has appeared as guest conductor with the New Japan Philharmonic and Berkshire 
Choral Institute; and has prepared the choruses for performances led by Andre Previn 
of Britten's Spring Symphony with the NHK Symphony in Japan and of Brahms's Ein 
deutsches Requiem at Carnegie Hall. Mr. Oliver made his Boston Symphony conduct- 
ing debut in August 1985 and led the orchestra most recently in July 1998. 



Tanglewood Festival Chorus 
John Oliver, Conductor 






Sopranos 

Rachel Bellairs 
Bonnie Gleason 
Emily Jaworski 
Meghan Joyce 
Donna Kim 
Melanie W. Salisbury 
Dana Sullivan 
Lisa Watkins 

Altos 

Lauren A. Boice 
AnnMarie Darrow 



Irene Gilbride 
Rachel Hallenbeck 
Gale Livingston 
Katherine Slater 
Cypriana V. Slosky 

Tenors 

Keith Erskine 
J. Stephen Groff 
Henry Lussier 
Glen F. Matheson 
Brian R. Robinson 
Sean Santry 



Felicia A. Burrey, Chorus Manager 
Meryl Atlas, Assistant Chorus Manager 
Jodi Goble, Rehearsal Pianist 



Stephen E. Smith 
Joseph Y. Wang 

Basses 

Kevin Ashworth 
Jim Gordon 
David Kilroy 
Timothy Lanagan 
David K. Lones 
Terry L. Ward 
Peter Weathers 






Rodgers & Hammersteins 




SYNOPSIS 

In a Maine coastal village toward the end of the 19th 
century, the swaggering, carefree carnival barker Billy 
Bigelow captivates and marries the naive mill worker 
Julie Jordan. Billy loses his job just as he learns that 
Julie is pregnant and, desperately intent upon providing 
a decent life for his family, he is coerced into being an 
accomplice to a robbery. Caught in the act and facing the 
certainty of prison, he takes his own life and is sent "up 
there." Billy is allowed to return to earth for one day. 
Time being what it is "up there," 15 years have passed, 
and he now encounters the teenage daughter he never 
knew. She is a lonely, friendless child, her father's repu- 
tation as a thief and bully having haunted her through- 
out her young life. How Billy instills in both the child 
and her mother a sense of hope and dignity is a dramatic 
testimony to the power of love. 




e 



BOSTON 




The Composer's Personal 
Favorite Comes Home 

by 

Theodore S. Chapin 

President, The Rodgers and Hammerstein Organization 



Although composers are often reluctant to cite a favorite among their works, 
Richard Rodgers singled out Carousel as the score of which he was the most 
proud. That is why it seemed appropriate in 2002 for us to assemble a concert 
presentation of this, his favorite show, as the centerpiece of his Centennial celebra- 
tions. The premiere of this version was at New York's Carnegie Hall, and it proved 
to be quite a night. John Raitt, the original Billy Bigelow, welcomed the audience 
and then turned the role over to Hugh Jackman who was making his New York 
debut. Not bad. 

Carousel was Rodgers' second collaboration with Oscar Hammerstein II. With 
their first, Oklahoma!, they turned a popular genre into an art form. With their 
second, they repeated the process — only with a completely different story, setting, 
and set of characters. The life and death issues of these characters forced the emo- 
tional stakes higher, and that's probably what guided Rodgers to find music that 
was somehow richer, grander, and most personally satisfying than anything he had 
written before. 







BOSTON SYMPHONY ORCHESTRA 



Tanglewood 




ne & Food Classic 

August 9-11, 2007 



Join us this summer for the 5th annual 
Tanglewood Wine & Food Classic. Festivities 
include a wine auction and dinner, Thursday, 
August 9, winemaker reception, Friday, August 10, 
and the Grand Tasting on Saturday from i2~4pm. 

Grand Tasting, August ii: $95 

Call (888) 266-1200, or visit www.tanglewood.org 
orwww.tanglewoodwineandfoodclassic.com. 



Visit with winemakers and 

culinary experts, and enjoy 

world class food selections 

in the bucolic ambiance 

of Tanglewood. 



yxjrviJSiUr 



PRESENTING SPONSOR 




SAVEUR 



Lux Bond & Green 



Hotel Commonwealth 



S.PELIEGRJNO 



■ . 




o 



Integrated musicals written for the theater don't fit easily into a concert hall. 
That's why a great deal of care was taken in editing the script of Carousel to make 
a satisfying evening. It is important to tell enough of the story so audience members 
feel that they have experienced Carousel, and yet the main feature is clearly the 
score. But what an extraordinary score it is! And even more important, this per- 
formance uses the original orchestrations, restored recently by the extraordinary 
musical staff here at The Rodgers and Hammerstein Organization. The original 
complement of strings for the orchestra pit of the Majestic Theater on Broadway 
in 1945 numbered 22 — abnormally large for the time, and larger than most com- 
plete orchestras on Broadway today! Along with the woodwinds, brass, and per- 
cussion, the original was undoubtedly the largest Broadway orchestra ever. Richard 
Rodgers knew this score needed size and scope. It took Bruce Pomahac, our 
Director of Music, and his team of passionate musical sleuths to reassemble the 
original orchestrations by Don Walker, who, it turns out, was assisted by Hans 
Spialek, Steven Jones, Joe Glover, and Robert Russell Bennett, all uncredited. 

The dance arrangements are by Trude Rittmann, a spry woman who was 
brought into the Rodgers and Hammerstein world by Carousel's original choreog- 
rapher, Agnes de Mille. Working closely with both Rodgers and de Mille, Rittmann 
crafted dance music of almost symphonic proportions, which obviously met with 
the hearty approval of both her bosses. Interesting side note: Ms. Rittman ended 
her days living in Brookhaven in Lexington. She had no family, but friends lived 
in the Boston area, so she moved from New York to stay with them. Deciding to 
remain in the area, she found a place in which should could ease into her 90s (she 




Richard Rodgers (left) and Oscar Hammerstein II in the Public Gardens during the pre-Broadway tryout 
of Allegro in Boston in October 1947. 

Photo courtesy of The Rodgers & Hammerstein Organization. 



died at 96.) Some of us used to come up and visit her, and take her to see whatever 
Rodgers & Hammerstein show was playing in Boston. After a performance of The 
King and I with Hayley Mills, many young members of the company came up to 
her and brought their scores for her to autograph. She was shyly pleased that her 
contributions were being recognized by a new generation. 

Carousel has its own series of connections to Boston and New England. For 
starters, the source material for the musical — Ferenc Molnar's play Liliom — set the 
story in Molnar's native Hungary, just outside Budapest. In Hugh Fordin's biogra- 
phy of Oscar Hammerstein II he describes Terry Helburn and Lawrence Langner 
of The Theater Guild offering Liliom as an idea to Rodgers 8c Hammerstein, who 
promptly rejected it out of hand. It was the locale that bothered them most, so a 
few days later Helburn suggested the Creole community of Louisiana — "an Ameri- 
can locale with a European flavor." That was intriguing, but Hammerstein wasn't 
sure he could wrap his hands around the local dialect. Still, the duo took tentative 
steps toward their musical anyhow, by focusing on what became "Soliloquy" — the 
extraordinary song in which the main character discovers he is to be a father. Then 
Rodgers came up with the idea of placing their story in New England, and things 
began to fall into place. The shores of Maine it would be, and that allowed Rodgers 
& Hammerstein to explore the life of the rugged New Englanders. The story cites 
textile mills, whalers, and even features, in song, a recipe for a clambake, albeit 
written by native New Yorkers. (I have never quite understood the line about lob- 
sters: "We slit 'em down the back and peppered them good..." — what's the back 
of a lobster, and don't you slit it down the underside? And pepper? Who peppers 
a lobster? But I certainly do understand the line "And doused 'em in melted but- 
ter. ..") Food played more than a passing role in the show: one of the characters, 
Enoch Snow, was actually based on a member of the family that made Snow's Fish 
Chowder — a product still available today. 

Rodgers & Hammerstein loved Boston for another reason. They loved bringing 
their new shows to try out here. The best evidence of that comes from a letter 
Rodgers wrote to his wife Dorothy during the pre-Broadway run of Carousel at 
the Colonial Theater. It both indicates an artist reaching a moment of clarity and 
what Boston audiences provided to the collaboration: "April 3, 1945. Now I can 
write to you because last night we had a SHOW! I'm a very cautious kid, as you 
know, but there are certain bits of evidence that cannot be refuted. Best of all, I 
know how I feel and I feel that there are many moments of extreme beauty here 
and that the public will want to see and hear them." 

Welcome to Carousel. 

©2007 The Rodgers & Hammerstein Organization. All Rights Reserved. 
Reprinted by Permission. 



o 



Integrated musicals written for the theater don't fit easily into a concert hall. 
That's why a great deal of care was taken in editing the script of Carousel to make 
a satisfying evening. It is important to tell enough of the story so audience members 
feel that they have experienced Carousel, and yet the main feature is clearly the 
score. But what an extraordinary score it is! And even more important, this per- 
formance uses the original orchestrations, restored recently by the extraordinary 
musical staff here at The Rodgers and Hammerstein Organization. The original 
complement of strings for the orchestra pit of the Majestic Theater on Broadway 
in 1945 numbered 22 — abnormally large for the time, and larger than most com- 
plete orchestras on Broadway today! Along with the woodwinds, brass, and per- 
cussion, the original was undoubtedly the largest Broadway orchestra ever. Richard 
Rodgers knew this score needed size and scope. It took Bruce Pomahac, our 
Director of Music, and his team of passionate musical sleuths to reassemble the 
original orchestrations by Don Walker, who, it turns out, was assisted by Hans 
Spialek, Steven Jones, Joe Glover, and Robert Russell Bennett, all uncredited. 

The dance arrangements are by Trude Rittmann, a spry woman who was 
brought into the Rodgers and Hammerstein world by Carousel's original choreog- 
rapher, Agnes de Mille. Working closely with both Rodgers and de Mille, Rittmann 
crafted dance music of almost symphonic proportions, which obviously met with 
the hearty approval of both her bosses. Interesting side note: Ms. Rittman ended 
her days living in Brookhaven in Lexington. She had no family, but friends lived 
in the Boston area, so she moved from New York to stay with them. Deciding to 
remain in the area, she found a place in which should could ease into her 90s (she 




Richard Rodgers (left) and Oscar Hammerstein II in the Public Gardens during the pre-Broadway tryout 
of Allegro in Boston in October 1947. 

Photo courtesy of The Rodgers & Hammerstein Organization. 



died at 96.) Some of us used to come up and visit her, and take her to see whatever 
Rodgers & Hammerstein show was playing in Boston. After a performance of The 
King and I with Hayley Mills, many young members of the company came up to 
her and brought their scores for her to autograph. She was shyly pleased that her 
contributions were being recognized by a new generation. 

Carousel has its own series of connections to Boston and New England. For 
starters, the source material for the musical — Ferenc Molnar's play Liliom — set the 
story in Molnar's native Hungary, just outside Budapest. In Hugh Fordin's biogra- 
phy of Oscar Hammerstein II he describes Terry Helburn and Lawrence Langner 
of The Theater Guild offering Liliom as an idea to Rodgers & Hammerstein, who 
promptly rejected it out of hand. It was the locale that bothered them most, so a 
few days later Helburn suggested the Creole community of Louisiana — "an Ameri- 
can locale with a European flavor." That was intriguing, but Hammerstein wasn't 
sure he could wrap his hands around the local dialect. Still, the duo took tentative 
steps toward their musical anyhow, by focusing on what became "Soliloquy" — the 
extraordinary song in which the main character discovers he is to be a father. Then 
Rodgers came up with the idea of placing their story in New England, and things 
began to fall into place. The shores of Maine it would be, and that allowed Rodgers 
& Hammerstein to explore the life of the rugged New Englanders. The story cites 
textile mills, whalers, and even features, in song, a recipe for a clambake, albeit 
written by native New Yorkers. (I have never quite understood the line about lob- 
sters: "We slit 'em down the back and peppered them good..." — what's the back 
of a lobster, and don't you slit it down the underside? And pepper? Who peppers 
a lobster? But I certainly do understand the line "And doused 'em in melted but- 
ter. ..") Food played more than a passing role in the show: one of the characters, 
Enoch Snow, was actually based on a member of the family that made Snow's Fish 
Chowder — a product still available today. 

Rodgers & Hammerstein loved Boston for another reason. They loved bringing 
their new shows to try out here. The best evidence of that comes from a letter 
Rodgers wrote to his wife Dorothy during the pre-Broadway run of Carousel at 
the Colonial Theater. It both indicates an artist reaching a moment of clarity and 
what Boston audiences provided to the collaboration: "April 3, 1945. Now I can 
write to you because last night we had a SHOW! I'm a very cautious kid, as you 
know, but there are certain bits of evidence that cannot be refuted. Best of all, I 
know how I feel and I feel that there are many moments of extreme beauty here 
and that the public will want to see and hear them." 

Welcome to Carousel. 

©2007 The Rodgers & Hammerstein Organization. All Rights Reserved. 
Reprinted by Permission. 



© 



THE THEATRE GUILD presents 




/4 Ttau TH^iaU PUtf 



Setod on FERENC MOLNAB '$ LILIOM m adopted by Benjamin f Glaier 

Music by RICHARD RODGERS 

Book and Lyrics by OSCAR HAMMERSTEIN 2d 

Directed by ROUBEN MAMOULIAN ,««,'.*.,, "'.*-- 

.. , ' -u-. -- »-,. , e JOHN JAITT • JANC 

Donees by AGNES DE MILLE 

' .... __ Christine Johnson - Erse Mottson - 

S»IMmU* by JO MIEtZINER 
C» 5 » U «^ by MILES WHITE and ° 8r >9>>* ^o""* Cost of S.ngcrj 

fXODUCTION SUPFRV/SED *Y LAWRENCE LANGNER AND THERESA HELlURN 



uno« 

Jean C*isto 
and Dancer\ 



COLONIAL THEATRE 

BOSTON 

3 Weeks Only, Beg. Tues, March 27 

MATINEES THURSDAY & SATURDAY 
PRICES. Fvev $* 20 $2.40 $3 00 $3.60 $4 20. 
. $2 40 $3.00 $3 60 M S " SO $2 40 $3.00 

Original poster advertising the pre-Broadway performances of Carousel at Boston's Colonial Theatre, 
courtesy of The Rodgers & Hammerstein Organization. 



ffl 




Table of Contents 

Prelude Concert of Friday, July 13, at 6 (Ozawa Hall) 3 

Members of the Boston Symphony Orchestra 
MUSIC OF ROSSINI AND DVORAK 

Boston Symphony concert of Friday, July 13, at 8:30 8 

Andre Previn conducting; Daniel Miiller-Schott, cello; 

Michelle DeYoung, mezzo-soprano 
MUSIC OF MOZART, HAYDN, AND RAVEL 

Boston Symphony concert of Saturday, July 14, at 8:30 26 

James Levine conducting; Stephanie Blythe, mezzo-soprano; 

Women of the Tanglewood Festival Chorus, John Oliver, conductor; 

The American Boychoir, Fernando Malvar-Ruiz, music director 
MAHLER'S SYMPHONY NO. 3 

Boston Symphony concert of Sunday, July 15, at 2:30 38 

Mark Elder conducting; Thomas Hampson, baritone 
MUSIC OF STRAUSS, MAHLER, DELIUS, AND SIBELIUS 

I ** 

THIS WEEK'S ANNOTATORS 

Marc Mandel is Director of Program Publications of the Boston Symphony Orchestra. 
Robert Kirzinger is Publications Associate of the Boston Symphony Orchestra. 

Helen Greenwald has taught at the New England Conservatory of Music since 1991 and 
will be Visiting Professor of Music at the University of Chicago in spring 2008. She is 
co-editor of the critical edition of Rossini's opera Zelmira and is currently editing Verdi's 
opera Attila for the Works of Giuseppe Verdi. 

Steven Ledbetter, program annotator of the Boston Symphony Orchestra from 1979 to 
1998, now writes program notes for orchestras and other ensembles throughout the 
country, and for such concert venues as Carnegie Hall. 

Hugh Macdonald is Avis Blewett Professor of Music at Washington University in St. Louis; 
principal pre-concert lecturer for the Saint Louis Symphony Orchestra; general editor 
of the New Berlioz edition, and a frequent guest annotator and speaker for the BSO. 

Michael Steinberg was program annotator of the Boston Symphony Orchestra from 
1976 to 1979, and after that of the San Francisco Symphony and New York Phil- 
harmonic. Oxford University Press has published three volumes of his program notes. 

SATURDAY-MORNING OPEN REHEARSAL SPEAKERS 

July 7, 21, 28; August 18 — Marc Mandel, BSO Director of Program Publications 
July 14; August 4, 11 — Robert Kirzinger, BSO Publications Associate 

Koussevitzky Shed lawn video projections are provided by 
Myriad Productions, Saratoga Springs, NY 








FRIENDS OF 

Tanglewood Music Center 

Each summer, the Tanglewood Music 
Center-one of the most influential centers 
for advanced musical study-offers tuition- 
free fellowships to approximately 150 of 
the most talented young musicians in the 
world. 

The TMC relies on support from individuals and 
businesses to fund these fellowships. A gift of 
$7,500 or $15,000 funds a half- or full-fellowship. 

Become a Fellowship Sponsor today. 

For more information, call Barbara Hanson 

at (413) 637-5278 or bhanson@bso.org. 





Tanglewood 







Prelude Concert 

Friday, July 13, at 6 

MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA 
VALERIA VILKER KUCHMENT, violin 
NANCY BRACKEN, violin 
EDWARD GAZOULEAS, viola 
JONATHAN MILLER, cello 
EDWIN BARKER, double bass 



SEIJI OZAWA HALL 



% 



ROSSINI 



DVORAK 



Duetto in D for cello and double bass 

Allegro 

Andante molto 
Allegro 

Quintet in G for two violins, viola, cello, 
and double bass, Opus 77 

Allegro con fuoco 
Scherzo: Allegro vivace 
Poco Andante 
Finale: Allegro assai 



State Street Global Advisors is proud to sponsor the 2007 Tanglewood season. 



Steinway and Sons Pianos, selected exclusively for Tanglewood 

Special thanks to Delta Air Lines and Commonwealth Worldwide Chauffeured Transportation 

In consideration of the performers and those around you, cellular phones, pagers, 
and watch alarms should be switched off during the concert 

Please do not take pictures during the concert. Flashes, in particular, are distracting to 
the performers and other audience members. 

Note that the use of audio or video recording equipment during performances in the 
Music Shed or Ozawa Hall is prohibited. 



Notes 



I 



Gioachino Rossini (1792-1868) wrote the Duetto for cello and double bass in 1824 to 
fulfill a commission from David Salomons (1797-1873), a wealthy businessman and 
politician, later Sheriff of Kent, a member of Parliament, and the first Jewish Lord 
Mayor of London (appointed 1855). The occasion for the commission was a soiree that 
Salomons had planned at which his friends and acquaintances might meet Rossini, who 
was the most famous opera composer of the day. Salomons, an amateur cellist, had also 

3 Week 2 



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invited the famed Italian double bassist Domenico Dragonetti, and the two probably 
performed Rossini's piece that evening. The' Salomons family kept Rossini's manuscript 
in the family until 1968, when it was auctioned by Sotheby's. The piece was finally pub- 
lished the following year. 

The Duetto is more or less contemporary with Rossini's operas Semiramide and 
Zelmira, postdates The Barber of Seville by eight or so years, and precedes Rossini's final 
opera, William Tell, by five. Although Rossini "retired" from composing, or at least from 
the showbiz world of opera, after 1829 (when he was thirty-seven and a wealthy man), 
he went on to compose many other works for his own pleasure and for various occasions 
until his death, including, most notably, his Petite Messe solennelle for twelve voices, two 
pianos, and harmonium (1864). 

The Duetto is in three movements totaling perhaps thirteen minutes. Although the 
cello part in the score is predictably the more florid and active, Rossini likely left room 
for the virtuoso Dragonetti to embellish his own part, just as he expected his singers to 
do in his operas. Rossini's familiar humor is evident in the first and last movements; in 
the middle movement lyricism is the chief characteristic of the music. 






To judge from its opus number alone, the G major string quintet of Antonin 
Dvorak (1841-1904) must have been composed after the Scherzo capriccioso, Opus 66, 
the Seventh Symphony, Opus 70, and the second set of Slavonic Dances, Opus 72 — 
in short, a work of the mature Dvorak. That is exactly what the composer's publisher 
Simrock wanted prospective purchasers to think. Actually the quintet had been written 
more than ten years earlier than its published opus number would suggest. The compos- 
er himself called it Opus 18 and objected strenuously, if fruitlessly, to Simrock's deceit. 
He turned to this unusual medium — a string quintet with double bass — after finishing 
his one-act opera The Stubborn Lovers early in 1875. The quintet was completed by 
March and submitted (anonymously, as the rules required) to a musical competition; the 
manuscript bore only the inscription "To his country." Selected unanimously, the work 
received its first performance the following March. The judges who first saw the manu- 
script awarded it the prize on account of its "noble theme, the technical mastery of 
polyphonic composition, the mastery of form and. . . knowledge of the instruments." At 
that time it had five movements, an Intermezzo in B standing in second place. But 
Dvorak decided that two slow movements overdid it, so he removed the Intermezzo 
and later published it separately as the Nocturne for strings, Opus 40. 

The player benefiting most from the presence of the double bass is the cellist, who, 
freed from customary duties of harmonic support, has a much greater opportunity to 
range widely in the thematic interplay of the lines. As if to define the unusual ensemble 
from the very outset, cello and double bass open the proceedings with the bass line 
descending in octaves, a sonority not possible for a string quartet, or even for a quintet 
with two cellos (like Schubert's C major). Once this unique feature has been established 
in the listener's ear, the cello parts company from the double bass and projects its own 
personality. Dvorak's first and last movements are lively, if somewhat square in the 



PRELUDE CONCERT SEATING 

Please note that seating for the Friday-evening Prelude Concerts in Seiji Ozawa Hall 
is unreserved and available on a first-come, first-served basis when the grounds open at 
5:30 p.m. Patrons are welcome to hold one extra seat in addition to their own. Also please 
note, however, that unoccupied seats may not be held later than five minutes before con- 
cert time (5:55 p.m.), as a courtesy to those patrons who are still seeking seats. 



Week 2 



working out of musical ideas. The bouncy scherzo dances jovially into a gentler Trio 
with some charming irregularities of phrasing. The slow movement's unfettered lyricism 
makes it in many ways the high point of the work. 

— Notes by Robert Kirzinger (Rossini) 
and Steven Ledbetter (Dvorak) 

ARTISTS 

Valeria Vilker Kuchment graduated from the Tchaikovsky Conservatory in Moscow, where 
she was a student of Yuri Yankelevich; upon finishing her studies she became a faculty mem- 
ber at the Tchaikovsky Conservatory College. Ms. Vilker Kuchment was a prizewinner in a 
number of international violin and chamber music competitions, including the International 
Competition at Prague, and at Munich, where she was awarded first prize. She has appeared 
as recitalist, soloist, and in chamber music throughout the former Soviet Union, Poland, 
Germany, and Czechoslovakia. Since coming to the United States in 1975 she has performed 
throughout the country (including a solo appearance with the Boston Pops Orchestra), win- 
ning critical acclaim for her appearances in Washington, Boston, and at Lincoln Center in 
New York. She has also been first violinist for the Apple Hill Chamber Players, and concert- 
master of SinfoNova, the Harvard Chamber Orchestra, the Handel 8c Haydn Society, and 
the Boston Philharmonic. Ms. Vilker Kuchment joined the Boston Symphony at the begin- 
ning of the 1986-87 season. A faculty member at the New England Conservatory of Music, 
the Longy School of Music in Cambridge, the Tanglewood Music Center, and the Boston 
University Tanglewood Institute, she has made two recordings with the Apple Hill Chamber 
Players for Sonora, one of music by Tchaikovsky, the other of music by Dvorak and Janacek. 

Violinist Nancy Bracken studied with Ivan Galamian at the Curtis Institute of Music and 
later received a master of music degree from the Eastman School of Music. Originally from 
St. Louis, she was a member of the Cleveland Orchestra before joining the Boston Symphony 
in 1979. Ms. Bracken has won competitions sponsored by the St. Louis Symphony, the 
Artist Presentation Society of St. Louis, the Music Teachers National Association, and the 
National Society of Arts and Letters. She has participated in summer music festivals in 
Aspen and the Grand Tetons and was concertmaster and a frequent violin soloist with the 
Colorado Philharmonic for two summers. Ms. Bracken performs in the Boston area as a 
recitalist and chamber musician and has appeared as soloist with the St. Louis Symphony 
and the Boston Pops. 

Violist Edward Gazouleas joined the Boston Symphony at the beginning of the 1990-91 
season. After viola studies with Raphael Hillyer and Steven Ansell at Yale University, he 
received his bachelor's degree in 1984 from the Curtis Institute of Music, where he studied 
viola with Michael Tree and Karen Tuttle. Before joining the BSO he was a member of the 
Pittsburgh Symphony viola section from 1985 to 1990, performing prior to that with the 
Concerto Soloists of Philadelphia, the New Haven Symphony Orchestra, the Chamber 
Orchestra of New England, and as first-desk player with the New York String Orchestra 
under Alexander Schneider. An avid chamber musician, Mr. Gazouleas was winner of the 
Eighth International String Quartet Competition in Evian, France, as a member of the 
Nisaika Quartet in 1984 and made his Carnegie Hall recital debut as a member of the 
Cezanne Quartet in 1982. He also performed at the Norfolk Festival and the Pensacola 
Chamber Music Festival. He has taught viola as an instructor at Temple University and pri- 
vately at Swarthmore College. He has performed locally with the Boston Artists Ensemble 
and Collage New Music. 

After attending Pablo Casals's master class at the University of California at Berkeley, Jonathan 
Miller chose to abandon his study of literature there and devote himself completely to the 
cello, training with Bernard Greenhouse of the Beaux Arts Trio. Seeking out masters of dif- 



ferent schools and styles, he also studied with Raya Garbousova, Leonard Rose, Harvey 
Shapiro, and Edgar Lustgarten. In 1964 and 1965 he was a fellowship student at the Tangle- 
wood Music Center. Before joining the Boston Symphony Orchestra in 1971, Mr. Miller 
held appointments as principal cellist of the Juilliard, Hartford, and San Diego symphony 
orchestras. He has been soloist with the Hartford Symphony, the Boston Pops Orchestra, 
and the Metropolitan Symphony Orchestra of Boston, and has performed in chamber music 
concerts at Symphony Hall and at Tanglewood. A winner of the Jeunesses Musicales audi- 
tions, he toured the United States twice with the New York String Sextet and has appeared 
as a member of the Fine Arts Quartet. Mr. Miller is founder and music director of the 
Boston Artists' Ensemble, which has received grants from the National Endowment for the 
Arts, the New England Foundation for the Arts, and the Massachusetts Council for the 
Arts. In 1980, during its first season, the ensemble performed twenty live concerts heard on 
WGBH-FM in Boston and broadcast simultaneously nationwide. Mr. Miller has taught at 
the New England Conservatory and at the Boston University Tanglewood Institute. In June 
1990, at the invitation of Mstislav Rostropovich, he appeared as soloist at the American 
Cello Congress; at the 1996 American Cello Congress he performed music of Janacek and 
Bach. Mr. Miller has recorded the Beethoven cello sonatas with pianist Randall Hodgkinson 
for Centaur records. He is a member of the Gramercy Trio, which received a Copland 
Foundation Grant for its first CD, "Shadow Bands" (on Newport Classics), and has per- 
formed in New York City three times to critical acclaim. Mr. Miller performs on a Matteo 
Goffriller, the "D'Archambeau" built in Venice in 1700, and also on a 1743 Carlo Antonio 
Testore from Milan. 

BSO principal bass Edwin Barker has concertized in North America, Europe, and the Far 
East. He has performed and recorded with the BSO, the Boston Symphony Chamber Players, 
and the contemporary music ensemble Collage, and is a frequent guest performer with the 
Boston Chamber Music Society. Mr. Barker gave the world premieres of James Yannatos' 
Concerto for Contrabass and Chamber Orchestra (which was written especially for him) and 
of Theodore Antoniou's Concertino for Contrabass and Chamber Orchestra; he was the fea- 
tured soloist in the New England premiere of Gunther Schuller's Concerto for Double Bass 
and Chamber Orchestra. Mr. Barker graduated with honors in 1976 from the New England 
Conservatory, where he studied double bass with Henry Portnoi. That same year, at age 
twenty-two, while a member of the Chicago Symphony, he was appointed principal double 
bass of the Boston Symphony Orchestra. His other double bass teachers included Peter 
Mercurio, Richard Stephan, Angelo LaMariana, and David Perleman. Mr. Barker inaugurated 
the BSO's 100th Anniversary Season with performances of Koussevitzky's Bass Concerto; 
other solo engagements have included appearances at Seiji Ozawa Hall, Carnegie Recital 
Hall, and major universities and conferences throughout the world, as well as concerto per- 
formances with the Boston Classical Orchestra and the Boston Symphony Orchestra in 
Boston and Europe. In July 1995 he was chosen by the late Sir Georg Solti to lead the bass 
section of the United Nations' "Musicians of the World," an orchestra made up of prominent 
musicians from the world's finest orchestras. Mr. Barker is an associate professor at the 
Boston University College of Fine Arts, where he teaches double bass, orchestral techniques, 
and chamber music. His other major teaching affiliations include the BSO's Tanglewood 
Music Center, where he is Chairman of Instrumental and Orchestral Studies, and the 
National Orchestral Institute at the University of Maryland. His solo CDs include "Three 
Sonatas for Double Bass"; James Yannatos' Variations for Solo Contrabass, and the recently 
released "Concerti for Double Bass," which includes concertos by Gunther Schuller and 
Theodore Antoniou. 





Tanglewood 

BOSTON SYMPHONY ORCHESTRA 

126th Season, 2006-2007 

Friday, July 13, at 8:30 
THE CAROLINE AND JAMES TAYLOR CONCERT 

ANDRE PREVIN conducting 




MOZART 



HAYDN 



Symphony No. 29 in A, K.201 

Allegro moderato 
Andante 
Menuetto; Trio 
Allegro con spirito 

Cello Concerto No. 1 in C 

Moderato 
Adagio 
Allegro molto 

DANIEL MULLER-SCHOTT 



INTERMISSION 



RAVEL 



Sheherazade, Three poems for voice and orchestra 

Asie (Asia) 

La Flute enchantee (The enchanted flute)\ 

LTndifferent (The indifferent one) 

MICHELLE DeYOUNG, mezzo-soprano 
Text and translation begin on page 17. 



Please withhold applause until the end of the entire song cycle. 



State Street Global Advisors is proud to sponsor the 2007 Tanglewood season. 



Steinway and Sons Pianos, selected exclusively for Tanglewood 

Special thanks to Delta Air Lines and Commonwealth Worldwide Chauffeured Transportation 

In consideration of the performers and those around you, cellular phones, pagers, 
and watch alarms should be switched off during the concert 

Please do not take pictures during the concert. Flashes, in particular, are distracting to 
the performers and other audience members. 

Note that the use of audio or video recording equipment during performances in the 
Music Shed or Ozawa Hall is prohibited. 



■ 



RAVEL 






Mother Goose (complete) 

Prelude 

Spinning-wheel Dance and Scene 

Pavane of the Sleeping Beauty 

Conversations of Beauty and the Beast 

Hop o' my Thumb 

Laideronnette, Empress of the Pagodas 

Apotheosis. The Fairy Garden 




NOTES ON THE PROGRAM 

Wolfgang Amade Mozart (1756-1791) 
Symphony No. 29 in A, K.201 

First performance: Manuscript dated April 6, 1774; presumably first performed in 
Salzburg. First BSO performance: October 1936, Serge Koussevitzky cond. First Tangle- 
wood performance: July 24, 1949, Koussevitzky cond. Most recent Tanglewood performance: 
July 31, 2005, Charles Dutoit cond. 

We tend to think of a symphony as a particularly demanding, large-scale orchestral 
work that will serve as the high point, and sometimes even the only piece, on an orches- 
tral program — a view developed during the nineteenth century, 
largely owing to the work of Beethoven. Especially before the 
last quarter of the eighteenth century, however, the notion of 
"symphony" was normally altogether less pretentious, and it 
was most often considered merely preparation for a main 
event, such as an opera or oratorio. During the last years of 
the eighteeenth century, though, Haydn and Mozart wrote 
symphonies that were clearly independent entities demanding 
attention in a way that many earlier symphonies did not. The 
character of the instrumental writing grew more complex and 
virtuosic, the ideas became bolder and more dramatic, and 
sudden shifts of key, rhythm, dynamics, and mood gave the symphony a more dramatic 
character. The process was not, perhaps, entirely intentional on the composers' part, and 
it took place over a period of decades. But there are certain high-water marks along the 
way, scores that capture a new level of seriousness and complexity (attributes that often 
revealed themselves in music of considerable wit). One such score is the Mozart sym- 
phony conventionally identified as No. 29 in A major. 

Like so many of Mozart's Salzburg symphonies, this one exists with virtually no 
indication of the reason why Mozart might have composed it. It is part of a massive 
outpouring of symphonies in the early 1770s, mostly for the relatively small forces avail- 
able to Mozart in Salzburg. (It was only after visiting Mannheim in 1778 that he wrote 




Week 2 



May^bctober 2007 
Lenox, MA 



IPFARF 

^Company 

openJrew worlds 



MAY 25-SEW 

Rough Crossing 

■fa rr\ 






JUNE 8-SEP.T 1 



.mer 
Night's Dream 

by William Shakespeare 
JULY^-SEPT 2 

Blue/Orange 

Joe Penhall 

JULY 27-SEPT 2 I 

Antony and Cleopati 

by William Shakespeare 
SEPT 28-OCT 28 

The Secret of 
Sherlock Holme 

by Jeremy PauL 



>th season 

_ DREAM! 

Four shows a day on two stages, 
I and FREE Bankside Festival 

Bankside Festival sponsored by Teddi and Francis Laurin 

Tickets ►Shakespeare.org or 413-637-3353 




to his father, "Ah, if only we too had clarinets! You cannot imagine the glorious effect 
of a symphony with flutes, oboes, and clarinets.") But even though he was limited in the 
size and instrumentation of his orchestra, Mozart's symphonies seem to be aiming at 
this time in the direction of greater weight and significance. In the symphony in A this 
weight can be seen partly in Mozart's decision to compose three of the four movements 
(all except the Menuetto) in the shape that we call sonata form, generally regarded as 
a serious or intellectual approach. Each of these sonata-form movements has two sub- 
stantial sections — the exposition and the development-recapitulation complex — that 
are supposed to be repeated, and in all three of these movements Mozart adds a further 
element of weight in a coda that brings the movement to a close. In addition, Mozart 
seems to be intent on fusing some chamber music elements (especially the independent 
part-writing) with the older symphonic tradition. He may have developed this interest 
under the influence of Haydn, who was experimenting in many of the same ways early 
in the 1770s. 

The first movement is striking in its complete avoidance of the customary display of 
fanfares and dramatic bow-strokes to open the work. Indeed, it begins with the presen- 
tation of a sober argument — a quiet octave leap in the violins, followed by a gradually 
climbing figure in eighth-notes, all of this supported by the lower strings in a contra- 
puntal style that suggests the character of church music. When the phrase ends, the 



The Tanglewood Association of the 
Boston Symphony Association of Volunteers 

and 
The Berkshire Museum 

present 

THE JOYS OF TANGLEWOOD 

with host/commentator Martin Bookspan 

Tuesday mornings from 10-11:30 a.m. at the 
Berkshire Museum, 39 South Street (Rte. 7) in Pittsfield 

July 10: A conversation with conductor/composer/pianist Sir Andre Previn 

July 17: A conversation with conductor Mark Elder 

July 24: "Historic Recordings of Verdi's Don Carlo,'" with former Boston Globe 

Music Critic Richard Dyer and BSO Director of Program Publications 
Marc Mandel 

July 31: Composer John Harbison and BSO principal bass Edwin Barker discuss 
the 2007 Festival of Contemporary Music and new music for the double 
bass 

August 7: "Touring the BSO, Yesterday and Today," with BSO Orchestra Manager 
Ray Wellbaum, BSO Personnel Manager Lynn Larsen, and BSO 
Senior Archivist Bridget Carr 

August 14: "Staging Mozart's Cost fan tutte" with director Ira Siff and designers 
John Michael Deegan and Sarah G. Conly 

August 21: A conversation with Boston Pops Laureate Conductor John Williams 

Tickets available by calling The Berkshire Museum at (413) 443-7171, ext. 10. 
Series subscriptions: $65 (available through July 10) • Single tickets (space permitting): $10 



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material begins a repetition, but now forte, with sustained octaves in the wind instruments 
and an imitation between upper and lower 'strings on the main theme. Mozart arrives 
with remarkable promptness at the new key and presents a whole series of new thematic 
ideas of varying character. The development is animated by running scale passages, and 
the recapitulation brings back all of the varied material of the exposition, now in the 
home key. The coda recalls the imitation of the opening once again. 

Both the second and third movements are built on themes emphasizing dotted 
rhythms, a characteristic of much French music in the late eighteenth century, where it 
was considered especially stately. The slow movement is given over largely to the muted 
strings, with occasional support or echoing from the woodwinds, which act to enrich 
the string quartet texture. The Menuetto provides graceful contrasts of color and dynamics 
while concentrating single -mindedly (in the main section) on one rhythmic pattern. 

The finale, Allegro con spirito, is really filled with spirit and fire. The measured 
tremolos, the trills, the racing scales up or down all keep the level of activity high, with 
only the slightest trace of relaxation for the secondary theme. Each of the major sec- 
tions — exposition, development, and recapitulation — ends with a breathtaking upward 
scale to nothing. Has everything come to a grinding halt? But no! After a heartbeat's 
pause, the racing figure continues in the next section of the piece. At the end of the 
recapitulation, this racing figure continues in a bold orchestral unison to the final ener- 
getic phrases. One more rushing scale to silence — and Mozart's jeu d y esprit comes to its 
breathless conclusion. 

— Steven Ledbetter 



Franz Joseph Haydn (1732-1809) 
Cello Concerto No. 1 in C 

First performance: Unknown, but the work was probably composed about 1765, and most 
likely for Joseph Weigl, principal cellist at Eszterhaza, where Haydn was employed. First 
BSO (and first Tanglewood) perfor?nance: July 9, 1965, Erich Leinsdorf cond., Jules Eskin, 
cello. Most recent Tanglewood performance: August 4, 2006, Donald Runnicles cond., 
Yo-Yo Ma, soloist. 

Haydn wrote relatively few concertos compared to most composers of his day, and 
most of those few have survived only by accident, often in a single copy. One dramatic 
example of this is the C major cello concerto, which was completely lost and known 
only through a two-measure entry of its principal theme in Haydn's personal thematic 

catalogue of his works until an old copy turned up in Prague 
in 1961, one of the most significant and exciting rediscoveries 
of Haydn research in the twentieth century. For here was a 
prime example of Haydn in his early maturity, a work almost 
certainly written for and played by the principal cellist in the 
Esterhazy establishment, Joseph Weigl. 

The concerto was the most popular and successful instru- 
mental form of the Baroque, coming out of Italy, where it 
had been stamped with the signature of Vivaldi; its very suc- 
cess meant that composers tended to use the traditional 
techniques even as a new approach to harmonic organiza- 
tion, texture, and thematic structure was having a powerful effect on the nascent sym- 
phony and string quartet. The concerto thus became somewhat old-fashioned and 
retained far longer than the symphony the beat-marking rhythms of the Baroque and 
the concatenation of small rhythmic motives to build up a theme rather than classi- 




13 



Week 2 



cally balanced phrases. Formally, too, the concerto still built upon the Baroque ritornel- 
lo form, which stated the principal material as blocks in a series of different keys linked 
by virtuosic passages for the soloist, although the ritornello arrangement gradually 
achieved detente with the sonata-form layout that became standard in the symphony. 

Haydn's C major concerto is a splendid example of this transitional period; we can 
almost hear Haydn breaking the ties with the Baroque and becoming more "classical" as 
the work progresses, since the first movement has a great deal more of the small rhyth- 
mic cells and the standard syncopation that became such a cliche in the late concerto, 
although it also makes a bow to sonata form. But the last movement comes from the 
world of the contemporary symphonies, with scarcely a glance backward. In between 
comes a serenade-like Adagio that focuses attention on the graceful lyricism almost 
throughout. 

— Steven Ledbetter 

Maurice Ravel (1875-1937) 

Sheherazade, Three poems for voice and orchestra 

First performance of orchestral version (the work having been composed originally with piano 
in 1903): May 17, 1904, Paris, Societe Nationale, Alfred Cortot cond., soprano Jane 
Hatto, soloist. First B SO performance: February 1924, Pierre Monteux cond., Vera 
Janacopulos, soloist. First Tanglewood performance: August 8, 1953, Leonard Bernstein 
cond., Jennie Tourel, soloist. Most recent Tanglewood performance: July 30, 2005, Hans 
Graf cond., Frederica von Stade, soloist. 

Ravel inherited from his mother, whose early years were spent in Madrid, a strong 
feeling for the people, folklore, and music of Spain. His father, a Swiss civil engineer 




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who played an important role in the development of the automobile, instilled in both 
-the elder Maurice and the three-yeajs-younger Edouard, who would go on like 



sons- 




his father to become an engineer' — a love for things mechanical, frequendy accompanying 
them on visits to factories of all sorts. That the boy Maurice would undertake a musical 
career seemed clear from the start; the only question was whether he would become a 

concert pianist or a composer. Following lessons in piano, 
harmony, counterpoint, and composition, he was enrolled in 
the preparatory piano division of the Paris Conservatoire in 
November 1889, but his early years there were marked by a 
succession of academic failures; he was finally expelled in July 
1900, though he continued to audit the classes of his "dear 
teacher" Gabriel Faure, to whom he would later dedicate his 
Jeux d'eau for piano and his String Quartet. 

On five occasions, Ravel competed for the Grand Prix de 
Rome, a state-subsidized prize designed to further the win- 
ning composer's artistic development with a four-year stipend, 
the first two years to be spent at Rome's Villa Medici. In May 1905 he tried for the last 
time (he had recently turned thirty, the age limit for the competition) — and was not 
even admitted to the finals! There was an uproar: debate among the music critics was 
heated, the news made the front pages, and the integrity of the jury was suspect, espe- 
cially considering that all six finalists were pupils of one of the judges, Charles Lenepveu, 
who was a professor of composition at the Conservatoire. Without question, a variety of 
musical/political factors was involved. Ravel was by now a prominent figure in Parisian 
musical life, recognized as the leading composer of his generation and presumable suc- 
cessor to Debussy. But at the same time, his preliminary submission for the 1905 Grand 
Prix contained enough errors and infractions to suggest that he was being flippant, 
scornful, or both, and his teachers had frequently and consistendy found him lacking in 
discipline despite his natural talents. 

Ravel's first published work was the Menuet antique of 1895, published in 1898. His 
formal debut as a composer came at the Societe Nationale concert of March 5, 1898. By 
the time of the 1905 Prix de Rome affair his list of works included, among other things, 
the Pavanefor a dead Infanta (1899), Jeux d'eau (1901), the String Quartet (1902-03), 
and the Sheherazade song cycle. The decade preceding the outbreak of World War I 
was one of astounding and virtually uninterrupted productivity, witnessing the creation 
of such compositions as the Sonatine and Miroirs (1905), the Histoires naturelles (1906), 
Mother Goose (1908-10), the Valses nobles et sentimentales (1911), Daphnis et Chloe 
(1909-12), and the Trio for piano, violin, and cello (1914). During this time, too, Ravel 
established his lifelong relationship with the publishing company of August and Jacques 
Durand, founded his own Societe Musicale Independante for the performance of new 
music, and began to be known outside his native country. 

Sidonie-Gabrielle Colette, who was to be Ravel's librettist for the opera L'Enfant et 
les sortileges (1920-25), has left a description of the composer from the early years of the 
century: "He wore side-whiskers! Yes, side-whiskers! And a thick crop of hair accentuated 
the contrast between his large head and tiny body. He had a taste for conspicuous ties 
and shirt-frills. While anxious to attract attention, he was afraid of criticism. . . Secredy, 
he was probably shy; his manner was aloof and his way of speaking somewhat curt." 
We also learn a great deal about Ravel from the journal of his friend and Conservatoire 
classmate, the pianist Ricardo Vines, who introduced much of Debussy's and Ravel's 
piano music in the course of his own career. With Vines, Ravel was a member of the 
Apaches ("hooligans"), a group of young intellectuals who saw themselves as artistic out- 



9 



fcitax 



15 



Week 2 



casts and who met regularly from around the turn of the century until the beginning of 
World War I to discuss painting, poetry, and music. Another member of the Apaches 
was the poet, painter, art critic, and composer Tristan Klingsor, whose real name was 
Arthur Justin Leon Leclere and from whose collection of one hundred poems entitled 
Sheherazade Ravel drew the texts for his own Sheherazade composed in 1903.* 

When Klingsor's collection appeared earlier that year, Ravel was instantly taken with 
the Oriental lure of his fdikm-Apaches poetry and immediately chose three of the poems 
for musical setting. Klingsor was surprised at Ravel's choice ofAsie (Asia), feeling that 
that poem's length and narrative form would pose considerable difficulty, but Ravel was 
particularly concerned at that time with the relationship between music and speech and 
with the transformation of speech accent into melody; he even requested that the poet 
read the words to him out loud. (Ravel's treatment of text in the Histoires naturelles three 
years later would cause something of a furor.) 

The key to the first song, Asie, and to the composer's setting may be found in the 



*Ravel's first orchestral composition was a Sheherazade overture composed for a projected opera in 1898. 
The overture was premiered to prevailingly negative reaction in May 1899, one critic suggesting that 
Ravel "think more often of Beethoven." 




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words "Je voudrais voir. . ." ("I'd like to see. . ."). The subtly evocative music brings to life 
the imaginings of the text, but always in the background, always distant, until the music 
bursts forth to travel on its own, freed from the bonds of both words and thought in a 
brief interlude near the end. The singer reenters to imagine herself recounting her journey, 
Scheherazade-like, "to those curious about dreams." 

Le Flute enchantee {The enchanted flute) depicts a slave tending her sleeping master, 
hearing from outside her beloveds flute "pouring out first sadness, then joy, an air by 
turns languorous and carefree." Finally, there is L'lndiffe're'nt {The indifferent one), which 
Ravel once suggested held the key to his own emotional character. Here, a young man 
passing the door of the poet ignores the latter's attentions; the music is at once distant, 
suggestive, and questioning. 

— Marc Mandel 







Please withhold applause until the end of the entire song cycle. 



Sheherazade 

Three poems by Tristan Klingsor 

Asie 

Asie, Asie, Asie, 

Vieux pays merveilleux des contes de 

nourrice 
Ou dort la fantaisie comme une 

imperatrice 
En sa foret tout-emplie de mystere. 
Asie, 

Je voudrais m'en aller avec la goelette 
Qui se berce ce soir dans le port 
Mysterieuse et solitaire 
Et qui deploie enfin ses voiles violettes 
Comme un immense oiseau de nuit 
dans le ciel d'or. 
Je voudrais m'en aller vers les iles de 

fleurs 
En ecoutant chanter la mer perverse 
Sur un vieux rythme ensorceleur. 
Je voudrais voir Damas 
et les villes de Perse 
avec les minarets legers dans Fair; 
Je voudrais voir de beaux turbans de 

soie 
Sur des visages noirs aux dents claires; 
Je voudrais voir des yeux sombres 

d'amour 
Et des prunelles brillantes de joie 
En des peaux jaunes comme des 

oranges; 
Je voudrais voir des vetements de 

velours 



Asia 

Asia, Asia, Asia, 

wonderful old land of nursery tales 

where fantasy sleeps like an empress 

in her enchanted forest. 

Asia, 

I'd like to leave with the vessel 

that rides this evening in port 

mysterious and solitary 

which will unfurl its violet sails at last 

like a great night bird 

in the golden sky. 

I'd like to travel to the isles of flowers 

listening to the perverse sea sing 

in an old, incantatory rhythm. 

I'd like to see Damascus 

and the cities of Persia 

with their slender minarets in the air; 

I'd like to see beautiful silk turbans 

on black faces with bright teeth; 
I'd like to see the dark amorous eyes 

and pupils sparkling with joy 
in skins yellow as oranges; 

I'd like to see velvet cloaks 



Please turn the page quietly. 



17 



Week 2 



Et des habits a longues franges. 


and the garments with long fringes. 


i Je voudrais voir des calumets entre 


I'd like to see long pipes between lips 


des bouches 




Tout entourees de barbe blanche; 


surrounded by white beards; 


Je voudrais voir d'apres merchands 


I'd like to see sharp merchants 


aux regards louches, 


with suspicious glances 


Et des cadis, et des vizirs 


and cadis and vizirs 


Qui du seul mouvement de leur doigt 


who with one movement of the finger 


qui se penche 


that they bend, 


Accorde vie ou mort au gre de leur 


grant life or death just as they wish. 


desir. 




Je voudrais voir la Perse, 


I'd like to see Persia 


et 1'Inde et puis la Chine, 


and India and then China, 


Les mandarins ventrus sous les 


and mandarins paunchy beneath their 


ombrelles, 


umbrellas, 


Et les princesses aux mains fines, 


and the princesses with slender hands, 


Et les lettres qui se querellent 


and the learned quarreling 


Sur la poesie et sur la beaute; 


about poetry and beauty; 


Je voudrais m'attarder au palais 


I'd like to linger in the enchanted palace 


enchante 




Et comme un voyageur etranger 


and like a foreign traveler 


Contempler a loisir des paysages 


contemplate at leisure landscapes painted 


peints 




Sur des etoffes en des cadres de sapin 


on cloth in fir-wood frames 


Avec un personnage au milieu dun 


with a figure in the midst of an orchard; 


verger; 




Je voudrais voir des assassins souriant 


I'd like to see murderers smiling 


Du bourreau qui coupe un cou 


while the headsman cuts an innocent neck 


d'innocent 




Avec son grand sabre courbe d'Orient. 


with his great, curved oriental sword. 


Je voudrais voir des pauvres et des 


I'd like to see beggars and queens; 


reines; 




Je voudrais voir des roses et du sang; 


I'd like to see roses and blood; 


Je voudrais voir mourir d'amour 


I'd like to see those who die for love 


ou bien de haine. 


and those who die for hatred. 


Et puis m'en revenir plus tard 


And then I would return 


Narrer mon aventure 


to tell my adventure 


aux curieux de reves 


to those curious about dreams, 


En elevant comme Sindbad 


raising, like Sinbad, 


ma vieille tasse arabe 


my old Arabian cup 


De temps en temps jusqu'a mes levres 


to my lips from time to time 


Pour interrompre le conte avec art. . . 


to interrupt my tale artfully. . . 


La Flute enchantee 


The enchanted flute 


L'ombre est douce et mon maitre 


The shadows are cool and my master 


dort, 


sleeps, 


Coiffe d'un bonnet conique de soie 


wearing a cap of silk, 


Et son long nez jaune en sa barbe 


his long, yellow nose in his white 


blanche. 


beard. 


Mais moi, je suis eveillee encor 


But I am still awake 


Et j'ecoute au dehors 


and I hear from outside 


Une chanson de flute ou s'epanche 


a flute song pouring out 


Tour a tour la tristesse ou la joie, 


first sadness, then joy, 


Un air tour a tour langoureux ou 


an air by turns languorous and 


frivole 


carefree, 
18 






r 



Que mon amoureux cheri joue, 

Et quand je m'approche de la croisee, 

II me semble que chaque notes 

s'envole 
De la flute vers ma joue 
Comme un mysterieux baiser. 

L'Indifferent 

Tes yeux sont doux comme ceux d'une 

fille, 
Jeune etranger, 
Et la courbe fine 
De ton beau visage de duvel ombrage 

Est plus seduisante encor de ligne. 

Ta levre chante sur le pas de ma porte 

Une langue inconnue et charmante 

Comme une musique fausse... 

Entre! 

Et que mon vin te reconforte. . . 

Mais non, tu passes 

Et de mon seuil je te vois t'eloigner, 

Me faisant und ernier geste avec grace 

Et la hanche legerement ployee 

Par ta demarche feminine et lasse. . . 



played by my beloved; 

and when I approach the lattice 

each note seems to fly 

from the flute to my cheek 
like a disembodied kiss. 

The indifferent one 

Your eyes are soft as a girl's, 

young stranger, 

and the fine curve 

of your pretty face, shadowed with 

down, 
is even more seductive in profile. 
Your lips sing at my doorstep 
a language unknown and charming 
as music out of tune. . . 
Come in! 

Let my wine cheer you. . . 
But no, you pass on 
and I see you recede from my doorway, 
with a final, graceful wave of your hand, 
your hips gently swayed 
by your feminine and indolent walk. . . 

— trans, by David Johnson 









Maurice Ravel 

Ma Mere Voye {Mother Goose), complete 

First performance of the orchestral score (sections of the piece being written originally for piano 
four-hands 1908-10, then expanded and orchestrated by Ravel in 1911 as a ballet): January 
1912, Theatre des Arts, Paris. First B SO performance of the complete score: April 21, 1974, 
Seiji Ozawa cond. (the more familiar suite having been performed much more frequently 
by the BSO over the years). First Tanglewood performance of the complete score: August 18, 
1984, Michael Tilson Thomas cond. Most recent Tanglewood performance of the complete 
score: July 25, 1997, Andre Previn cond. 

He is a child and he is an old man. 

— the critic Emile Vuillermoz on Ravel (1922) 

Ravel frequently visited his friends Ida and Cipa Godebski and their two children, 
Mimi and Jean, at their country house, "La Grangette." And, as Mimi recalls in her 
fond memoir, when he was not polishing off what was meant to be "the next day's cold 
meat" or arguing about Mozart, whom he idolized and Cipa detested, Ravel was most 
likely to have engaged himself with the children in all manner of practical jokes and 
storytelling. Their favorites were "Laideronette" and "Beauty and the Beast," both of 
which Ravel put into the original four-hand version of Ma Mere Voye, which he finished 
at "La Grangette" in 1910 and dedicated to the children. He even proposed that they 
premiere it, but Mimi and Jean "froze" at the idea, so the task was given over to two 
other youngsters, Jeanne Leleu, a pupil of Marguerite Long who later won the Grand 
Prix de Rome, and Genevieve Durony. Ravel was delighted with the performance, and 



19 



Week 2 



responded in writing the very next day to Mademoiselle Leleu: "When you will be a 
great virtuoso and I either an old fogey, covered with honors, or else completely forgot- 
ten, you will perhaps have pleasant memories of having given 
an artist the very rare joy of hearing a work of his, of a rather 
special nature, interpreted exactly as it should be." 

Young people more often than not inspired such openness 
and generosity, for this "Lewis Carroll" of a composer was far j 
less forthcoming with adults, even secretive, and especially 
about his creative processes. As the French icon Colette recalls, 
her experience as librettist for Ravels opera L'Enfant et les sor- 
tileges was not the interactive collaboration of Verdi and Boito 
or Mozart and Da Ponte; after accepting her libretto, Ravel 
made no further comment and emerged years later with the 
completed work in hand, his only worry being the duet between the two cats. Colette 
remembers it with a sigh: "He asked me most seriously if I would mind his changing 
'mouao' into 'mouain' — or perhaps it was the other way round." 

Ravel rejoiced in animals and children, and many of his works reflect a soul brought 
to life by fantasy, fable, exotic places, and romanticized history. That he took pleasure in 
"Mother Goose" is no surprise, especially given "her" French roots. As William and Ceil 
Baring-Gould have pointed out in their introduction to The Annotated Mother Goose, 
early references to her in France suggest she might have been "Goose-footed Bertha," 
mother of Charlemagne. She was "represented as incessantly spinning, with hordes of 
children clustered about her, listening to her stories," an image that gave rise to the 
"French custom of referring to any tall tale as one told 'at the time when good Queen 
Bertha spun'." Ravel's main source was the collection by Charles Perrault, Les Contes de 





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la Mere Voye (1697), which includes "La Belle au bois dormant" ("Sleeping Beauty") 
and "Le Petit Poucet" ("Tom Thumb"). He also turned to Marie-Catherine, Comtesse 
d'Aulnoy (ca. 1650-1705) for "Laideronnette, Imperatrice des pagodes" ("Laideronnette, 
Empress of the Pagodas"), and Marie Leprince de Beaumont (1711-80) for "Les Entriens 
de la Belle et de la Bete" ("The Conversations of the Beauty and the Beast"). One could 
imagine Ravel asking the young Mimi, "What would happen if, on a moonlit night, 
Sleeping Beauty and Tom Thumb met Beauty and the Beast and the rest of the fairies 
in the forest?" In this sense we may view the ballet version as Shakespeare's A Midsummer 
Nights Dream transferred to the bois with Goose-footed Bertha in control at her spin- 
ning wheel. 

Arbie Orenstein notes that Ravel made a practice of refashioning his music in an 
"attempt to draw out every ounce of its inherent possibilities." The complete ballet 
Ma Mere Voye is just that, the final lap in a journey from a collection of five discrete 
impressions in miniature for piano to a thematically and dramatically integrated full- 
scale orchestral narrative for the stage. Ravel expanded his petite suite by adding a 
"Prelude" and the "Danse du Rouet et Scene" ("Dance of the Spinning Wheel"). He 
also nearly doubled the length of individual movements, eliminated their closed endings 
(and hence the pauses in between), and translated their delicate pianism into vivid but 
transparently Mozartian orchestral colors. He provided momentum not so much by per- 
cussion (now an exotic spice) as by dance — a pavane, a waltz — to underscore the physi- 
cality of slumber, conversation, bath, and music-making. 

The Prelude opens with the hushed wind sound of two flutes and bassoon, as a 
muted solo horn intones a distant fanfare, "Once upon a time." Eerie harmonics ac- 
company thematic fragments — to be fully realized in each of the stories — all leading in 
a crescendo to the Spinning-wheel Dance and Scene, Mother Goose herself spinning 
out her tales over a perpetual-motion pedal that passes among the instruments. We can 
hear the "click" of her treadle in the tambourine. The activity dissolves into an ancient 
and serene woodland lullaby of flutes and violins that gently rock Sleeping Beauty over 
a spare accompaniment of pizzicato strings and harp harmonics. Following a sudden 
piccolo interjection, col legno strings break the stillness and yield to the moderate waltz 
tempo characterizing the Conversations of Beauty and the Beast, with Beast as contra- 
bassoon proposing marriage and revealing himself upon Beauty's acceptance to be a 
handsome prince, once bewitched. 

Solo violin and cello in a falling chromatic line, reminiscent of the opening of De- 
bussy's Faun prelude, announce the next tableau: Tom Thumb is lost in the woods, and 
Ravel's long-breathed melody circles appropriately around itself as chirping birds eat the 
crumbs Tom has left as a guide. The gentle but constant motion leads to a harp and 
celesta cadenza followed by Laideronnette, Empress of the Pagodas. With its black- key 
pentatonicism and shimmering orchestral colors, this is the liveliest of the movements. 
Porcelain girls and boys regale the exotic little empress in her bath with music, their 
instruments mimicked in the orchestra by harp, celesta, glockenspiel, piccolo, and flute. 
As the movement ends, we are treated to a summary of previous themes, most notably a 
return of the opening horn fanfare and the Sleeping Beauty motif heard now in the solo 
violin. The final movement begins with a recomposition of the opening theme trans- 
ferred to strings in triple meter and leads to The Fairy Garden with its brilliant combi- 
nation of celesta, harp, and solo violin. This quintessential, delicate and mysterious 
"fairy music" builds to a majestic Apotheosis with full orchestra as the Sleeping Beauty 
opens her eyes. 

— Helen M. Greenwald 






21 



Week 2 



GUEST ARTISTS 




Sir Andre Previn 

Composer/conductor/pianist Sir Andre Previn has received numerous 
awards and honors for his outstanding musical accomplishments. He 
holds both the Austrian and German Cross of Merit, was a Kennedy 
Center honoree for his lifetime achievements, and was knighted by Her 
Majesty Queen Elizabeth II in 1996. On March 14, 2006, in Toronto, 
he was presented with the Glenn Gould Prize. He has received several 
Grammys for his recordings. In February 2005, at the 47th Grammy 
Awards, he was honored for his disc with Anne-Sophie Mutter of his own 
Violin Concerto {Anne-Sophie) and Bernstein's Serenade for violin and orchestra, the former 
recorded with the Boston Symphony Orchestra, the latter with the London Symphony Or- 
chestra. Musical America has named him "Musician of The Year"; his first opera, A Streetcar 
Named Desire, was awarded the Grand Prix du Disque. A frequent guest — both in concert 
and on recordings — with the world's major orchestras, Mr. Previn appears regularly with the 
Boston Symphony Orchestra, New York Philharmonic, and Vienna Philharmonic, to name a 
few, and has held chief artistic posts with the Houston Symphony, London Symphony, Los 
Angeles Philharmonic, Pittsburgh Symphony, Oslo Philharmonic, and Royal Philharmonic. 
Podium appearances this season include the Oslo Philharmonic, the Gewandhaus Orchestra 
of Leipzig, the Maggio Musicale Fiorentino, and the Boston Symphony Orchestra. In 
March 2007, his opera A Streetcar Named Desire was performed in Vienna. At Tanglewood in 
July he leads two programs with the Boston Symphony Orchestra and appears as pianist in 
Ozawa Hall with guitarist Jim Hall and bass player David Finck for an evening of jazz. His 
2007-08 season will include three weeks with the NHK Symphony in Tokyo, appearances 
with the London Symphony Orchestra and Rotterdam Philharmonic, tour performances 
with the Royal Concertgebouw Orchestra of Amsterdam with Anne-Sophie Mutter as 
soloist, and an appearance at the Blue Note in New York. As a pianist, Mr. Previn often per- 




22 



forms in a trio with Anne-Sophie Mutter and cellist Lynn Harrell, and as a jazz pianist with 
David Finck. He has given recitals with Renee. Fleming at Lincoln Center, and with Barbara 
Bonney at Carnegie Hall and the Mozarteum in Salzburg; he performs chamber music fre- 
quently with the Emerson String Quartet, as well as with members of the Boston Symphony 
Orchestra, London Symphony Orchestra, and Vienna Philharmonic. Mr. Previn's recent suc- 
cesses as a composer have included a work for the Emerson String Quartet and Barbara 
Bonney commissioned by Carnegie Hall; two works for Anne-Sophie Mutter, both of which 
they have recorded (Tango, Song, and Dance for violin and piano, and his Violin Concerto, 
written for Ms. Mutter and the Boston Symphony Orchestra); and Diversions for orchestra, 
written for and recorded by the Vienna Philharmonic. His opera A Streetcar Named Desire, on 
a libretto by Philip Littell based on the play by Tennessee Williams, was premiered in 1998 
under his direction at San Francisco Opera, with Renee Fleming as Blanche Dubois. The 
opera was broadcast on television, recorded for Deutsche Grammophon for release on com- 
pact disc, and has also been issued on DVD. Mr. Previn's second opera, Brief Encounter, com- 
missioned by Houston Grand Opera, will be premiered there in May 2009. His Harp Con- 
certo, commissioned by the Pittsburgh Symphony, will be premiered in March 2008. A dou- 
ble concerto for violin and viola, written for Anne-Sophie Mutter and Yuri Bashmet, will be 
premiered in New York in 2009. Mr. Previn teaches regularly at the Curtis Institute of Music 
and the Tanglewood Music Center, where he works with the student orchestras, conductors, 
and composers, and coaches chamber music. Andre Previn has appeared regularly with the 
Boston Symphony Orchestra in Symphony Hall and at Tanglewood since his Tanglewood 
debut in August 1977, most recently for subscription concerts in April 2006 (a program 
including the world premiere of his Double Concerto for Violin, Double Bass, and Orches- 
tra). Andre Previn has appeared frequently with the BSO since his Tanglewood debut in 
August 1977. His most recent subscription appearances were this past April (a program 
including the world premiere of his own Double Concerto for Violin, Double Bass, and 
Orchestra). Besides his two Boston Symphony concerts this summer, he also appears as 
pianist for an evening of jazz in Ozawa Hall this Sunday night. 



■ 




Daniel Muller-Schott 

Making his BSO and Tanglewood debuts in this concert, German cellist 
Daniel Muller-Schott has appeared with the BBC Symphony, BBC 
Scottish Symphony, Berlin Radio Orchestra, Chicago Symphony, City of 
Birmingham Symphony, Israel Symphony, Jerusalem Symphony, London 
Philharmonia, Netherlands Philharmonic, NDR Orchestra/Hamburg, 
New Japan Philharmonic, New York Philharmonic, Orchestre National de 
j I France, Orchestre National de Paris, Philadelphia Orchestra, Royal Flemish 

Philharmonic, Seville Symphony, and Warsaw National Philharmonia. In 
addition to his Boston Symphony debut at Tanglewood under Sir Andre Previn, current sea- 
son highlights include debut appearances at the Heidelberger Friihling, Moritzburg Festival, 
and Ottawa Chamber Music Festival. He will also play the Ligeti Cello Concerto with the 
NDR Symphony Orchestra under Peter Ruzicka at Schleswig-Holstein. Other upcoming 
and recent solo engagements include performances with the Bilbao Symphony, Charleston 
Symphony, NDR Symphony Orchestra, Oslo Philharmonic, Royal Flemish Philharmonic, 
Santa Barbara Symphony, and the Utah Symphony under Keith Lockhart. Next season brings 
a European tour with the Australian Chamber Orchestra; performances with the Iceland 
Symphony, the Chamber Orchestra of Europe, and the Vienna Symphony at the Musikverein; 
recital and orchestral tours in Japan with the Metropolitan Symphony Orchestra, in Spain 
with the Castilla y Leon Symphony, in Germany with the Kammerphilharmonie/Potsdam 
(with violinist Julia Fischer and pianist Martin Helmchen), and in various European coun- 
tries with the National Symphony Orchestra of the Polish Radio; and recital and chamber 
music performances in Baden-Baden, Hamburg, the Munich Philharmonie, London, Zurich, 
the Amsterdam Concertgebouw, and the Vancouver Recital Society. Mr. Muller-Schott s 
chamber music partners include Sir Andre Previn, Renaud Capueon, Julia Fischer, Jonathan 



23 



Gilad, Angela Hewitt, Steven Isserlis, Robert Kulek, Olli Mustonen, Anne-Sophie Mutter, 
Denys Proshayev, Vadim Repin, Christian Tetzlaff, Jean-Yves Thibaudet, the Vbgler Quartet, 
and Lars Vbgt. He appears regularly at the Vancouver Chamber Music Festival and the City 
of London Festival, as well as the festivals in Schleswig-Holstein, Rheingau, Schwetzingen, 
Mecklenburg-Vorpommern, Lucerne, and Ravinia. Since his debut recording featuring Bach's 
Six Suites for Solo Cello (Glissando Records), he has made numerous acclaimed recordings, 
including a CD with the Australian Chamber Orchestra of his own arrangements of Haydn's 
cello concertos and Beethoven's violin romances, and the cello concertos by Elgar and Walton 
with the Oslo Philharmonic (Orfeo). This year's releases include a DVD of the Mozart 
Piano Trio with Anne- Sophie Mutter and Sir Andre Previn (Deutsche Grammophon); the 
Shostakovich cello concertos with the Bavarian Radio Symphony Orchestra (Orfeo); the 
Brahms Double Concerto with Julia Fischer and the Netherlands Philharmonic (Pentatone); 
and Bach's gamba sonatas with Angela Hewitt (Orfeo). Daniel Muller-Schott plays the 
Saphir ex-Shapiro Matteo Goffriller cello made in Venice in 1727. He studied under Walter 
Nothas, Heinrich Schiff, and Steven Isserlis. At age fifteen he won first prize at Moscow's 
International Tchaikovsky Competition for Young Musicians. More recently he has held a 
scholarship from Anne-Sophie Mutter's foundation. Born in 1976, Mr. Muller-Schott lives 
in his hometown of Munich. 



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24 




Michelle DeYoung 

In the past few seasons, mezzo-soprano Michelle DeYoung has performed 
with many of the world's leading orchestras, including the New York Phil- 
harmonic, Boston Symphony, Chicago Symphony, Cleveland Orchestra, 
San Francisco Symphony, Los Angeles Philharmonic, Minnesota Orches- 
I tra, Pittsburgh Symphony, Atlanta Symphony, Vienna Philharmonic, 
Puerto Rico Symphony, BBC Symphony, Philharmonia Orchestra, Royal 
Philharmonic, Orchestre de Paris, Bayerische Staatsoper Orchestra, 
\ Concertgebouworkest, and Chamber Orchestra of Europe, working with 
such conductors as Daniel Barenboim, Pierre Boulez, Sir Colin Davis, Stephane Deneve, 
Christoph von Dohnanyi, Christoph Eschenbach, Bernard Haitink, James Levine, Zubin 
Mehta, Seiji Ozawa, Antonio Pappano, Donald Runnicles, Esa-Pekka Salonen, Leonard 
Slatkin, Mariss Jansons, and Michael Tilson Thomas. In the United States, her operatic 
engagements have included Venus in Tannhduser and Dido in a new production of Les 
Troyens at the Metropolitan Opera; Sieglinde in Die Walkure, Waltraute in Gotterddmmerung, 
and Brangane in Tristan und Isolde at Lyric Opera of Chicago; Venus at Houston Grand 
Opera, Brangane at Seattle Opera, and the title role in The Rape ofLucretia at Glimmerglass 
Opera. In Europe she has appeared as Kundry in a new production of Parsifal, conducted by 
Boulez to open the Bayreuth Festival; Brangane at the Berlin Staatsoper, Marguerite in Le 
Damnation de Faust at the Paris Opera, Jocasta in Oedipus Rex and Gertrude in Hamlet at 
Theatre du Chatelet, and Fricka in semi-staged performances of both Das Rheingold and 
Die Walkure at London's Royal Albert Hall and Royal Opera House-Covent Garden, the 
Concertgebouw, and Birmingham Symphony Hall. She has been presented in recital by the 
"University of Chicago Presents" series, the Ravinia Festival, Weill Recital Hall, Alice Tully 
Hall, the San Francisco Symphony's "Great Performances" series, Cal Performances in 
Berkeley, SUNY Purchase, Calvin College, the Pittsburgh Symphony, Theatre du Chatelet, 
Gulbenkian Foundation (Lisbon), the Edinburgh Festival, London's Wigmore Hall, and La 
Monnaie in Brussels. Ms. DeYoung's most recent recording, Kindertotenlieder and Mahler's 
Symphony No. 3 with Michael Tilson Thomas (on the San Francisco Symphony's own label, 
SFS Media) won the 2004 Grammy Award for Best Classical Album. She sang Dido on the 
2001 Grammy-winning recording of Les Troyens with Sir Colin Davis and the London Sym- 
phony Orchestra. Her discography also includes Bernstein's Jeremiah Symphony with the 
BBC Symphony Orchestra (Chandos), Das klagende Lied with the San Francisco Symphony 
(BMG), Mahler's Symphony No 3 with the Cincinnati Symphony (Telarc), and Das Lied 
von der Erde with the Minnesota Orchestra (Reference Recordings). Her first solo disc was 
released on the EMI label. In 2006-07 she returns to the Met for the world premiere of Tan 
Dun's The First Emperor, makes debut at the Tokyo Opera as Venus, and also makes appear- 
ances with the Los Angeles Symphony, Chicago Symphony Orchestra, San Francisco Sym- 
phony (on tour in Europe), the Met Chamber Orchestra in Zankel Hall, and the Berlin 
Staatskapelle Michelle DeYoung made her Boston Symphony debut at Symphony Hall in 
January 1996 in Mahler's Symphony No. 2 with Seiji Ozawa conducting, followed by BSO 
tour performances in Chicago, San Francisco, and Cerritos (CA). 







25 




Tanglewood 

BOSTON SYMPHONY ORCHESTRA 

126th Season, 2006-2007 

Saturday, July 14, at 8:30 
JAMES LEVINE conducting 

MAHLER Symphony No. 3 

First Part 

I. Kraftig. Entschieden. 
[Forceful. Decisive.] 




Text and 
translation 
begin on 
page 32. 



INTERMISSION 



Second Part 

II. Tempo di Menuetto. Sehr mafiig. 
Ja nicht eilen! Grazioso. 
[In minuet tempo. Very moderate. 
Don't hurry! Graceful.] 

III. Comodo. Scherzando. Ohne Hast. 
[Easygoing. Jesting. Without haste.] 

IV. Sehr langsam. Misterioso. Durchaus ppp. 
[Very slow. Mysterious, ppp throughout.] 
Words by Nietzsche 

V. Lustig im Tempo und keck im Ausdruck. 

[Cheerful in tempo and jaunty in expression.] 
VI. Langsam. Ruhevoll. Empfunden. 
[Slow. Peaceful. Deeply felt.] 

STEPHANIE BLYTHE, mezzo-soprano 
WOMEN OF THE TANGLEWOOD 

FESTIVAL CHORUS, JOHN OLIVER, conductor 
THE AMERICAN BOYCHOIR, 

FERNANDO MALVAR-RUIZ, music director 



This evening's Tanglewood Festival Chorus performance is supported by 
the Alan J. and Suzanne W. Dworsky Fund for Voice and Chorus. 



State Street Global Advisors is proud to sponsor the 2007 Tanglewood season. 



Steinway and Sons Pianos, selected exclusively for Tanglewood 

Special thanks to Delta Air Lines and Commonwealth Worldwide Chauffeured Transportation 



26 



r 



NOTES ON THE PROGRAM 

Gustav Mahler (1860-1911) 
Symphony No. 3 

First complete performance (some movements having already been introduced piecemeal): June 
9, 1902, Allgemeiner Deutscher Musikverein, Krefeld, Mahler cond. First BSO perform- 
ances: (first movement only) March 1943, Richard Burgin cond.; (complete score) 
January 1962, Richard Burgin cond., Florence Kopleff, soloist, with the Chorus Pro 
Musica, Alfred Nash Patterson, cond. First Tanglewood performance: August 28, 1977, 
Seiji Ozawa cond., Birgit Finnila, soloist, with the Tanglewood Festival Chorus, John 
Oliver, cond., and Boston Boy Choir, Theodore Marier, cond. Most recent Tanglewood 
performance: July 26, 1998, Seiji Ozawa cond., Florence Quivar, soloist, with the Tangle- 
wood Festival Chorus, John Oliver, cond., and PALS Children's Chorus, Johanna Hill 
Simpson, cond. (though, more recently, David Robertson led Britten's arrangement of 
the second movement, entitled "What the Wild Flowers Tell Me," at Tanglewood on 
August 3, 2001). 



In this performance, James Levine follows Mahler's own practice in taking an 
intermission after Part I of the symphony — as he has done in every performance 
of the work he has led over the past thirty years — honoring both the conception 
of the work as divided into two distinct parts, and the composer's explicit nota- 
tion "folgt eine lange Pause!" at the end of Part I in the autograph manuscript. 



When Mahler visited Sibelius in 1907 — Mahler was then near to completing his 
Eighth Symphony — the two composers argued about "the essence of symphony," 

Mahler rejecting his colleague's creed of severity, style, and 
logic by countering with "No, a symphony must be like the 
world. It must embrace everything." Twelve years earlier, 
while actually at work on the Third, he had remarked that to 
"call it a symphony is really incorrect, as it does not follow the 
usual form. The term 'symphony' — to me this means creating 
a world with all the technical means available." 

The completion of the Second Symphony the previous 
summer had given him confidence: he was sure of being "in 
perfect control" of his technique. Now, in the summer of 
1895, escaped for some months from his duties as principal 
conductor at the Hamburg Opera, installed in his new one-room cabin in Steinbach on 
the Attersee some twenty miles east of Salzburg, with his sister Justine and his friend 








In consideration of the performers and those around you, cellular phones, pagers, 
and watch alarms should be switched off during the concert 

Please do not take pictures during the concert. Flashes, in particular, are distracting to 
the performers and other audience members. 

Note that the use of audio or video recording equipment during performances in the 
Music Shed or Ozawa Hall is prohibited. 



27 



Week 2 



Natalie Bauer-Lechner to look after him (this most crucially meant silencing crows, 
water birds, children, and whistling farmhands), Mahler set out to make a pantheistic 
world to which he gave the overall title The Happy Life — A Midsummer Nights Dream 
(adding "not after Shakespeare, critics and Shakespeare mavens please note"). Before he 
wrote any music, he worked out a scenario in five sections, entitled What the forest tells 
me, What the trees tell me, What twilight tells me ("strings only" he noted), What the cuckoo 
tells me {scherzo), and What the child tells me. He changed all that five times during the 
summer as the music began to take shape in his mind and, with a rapidity that aston- 
ished him, on paper as well. The Happy Life disappeared, to be replaced for a while by 
the Neitzschean Gay Science (first My Gay Science). The trees, the twilight, and the cuck- 
oo were all taken out, their places taken by flowers, animals, and morning bells. He 
added What the night tells me and saw that he wanted to begin with the triumphal entry 
of summer, which would include an element of something Dionysiac and even frighten- 
ing. In less than three weeks he composed what are now the second, third, fourth, and 
fifth movements. He went on to the Adagio and, by the time his composing vacation 
came to an end on August 20, he had made an outline of the first movement and com- 
posed two independent songs, Lied des Verfolgten in Turm {Song of the Prisoner in the 
Tower) and Wo die schonen Trompeten blasen {Where the beautiful trumpets sound). It was 
the richest summer of his life. 

In June 1896 he was back at Steinbach. He had made some progress scoring the new 
symphony and he had complicated his life by an intense and stormy affair with a young, 
superlatively gifted dramatic soprano newly come to the Hamburg Opera, Anna von 
Mildenburg. He also discovered when he got to Steinbach that he had forgotten to 
bring the sketches of the first movement, and it was while waiting for them that he 
composed his little bouquet for critics, Lob des hohen Verstandes. In due course the 






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28 



sketches arrived, and Mahler, as he worked on them, gradually realized that the Awaken- 
ing of Pan and the Triumphal March of Summer wanted to be one movement instead of 
two. He also saw, rather to his alarm, that,the first movement was growing hugely, that 
it would be more than half an hour long, and that it was also getting louder and louder. 
He deleted his finale, What the child tells me, which was the Life in Heaven song of 1892, 
putting it to work a few years later to serve as finale to the Fourth Symphony. That 
necessitated rewriting the last pages of the Adagio, which was now the last movement, 
but essentially the work was under control by the beginning of August. The Gay Science 
was still part of the title at the beginning of the summer, coupled with what had 
become A Midsummer Noons Dream, but in the eighth and last of Mahler's scenarios, 
dated August 6, 1896, the superscription is simply A Midsummer Noons Dream with the 
following titles given to the individual movements: 

First Part: Pan awakes. Summer comes marching in 

(Bacchic procession). 
Second Part: What the flowers in the meadow tell me 

What the animals in the forest tell me 

What humanity tells me 

What the angels tell me 

What love tells me 

At the premiere, the program page showed no titles at all, only tempo and generic 
indications. "Beginning with Beethoven," wrote Mahler to the critic Max Kalbeck that 
year, "there is no modern music without its underlying program. — But no music is 
worth anything if you first have to tell the listener what experience lies behind it, 
respectively what he is supposed to experience in it. — And so yet again: pereat every 
program! — You just have to bring along ears and a heart and — not least — willingly sur- 
render to the rhapsodist. Some residue of mystery always remains, even for the creator." 
When, however, we look at the titles in the Third Symphony, we are, even though they 
were finally rejected, looking at an attempt, or a series of attempts, to put into a few 
words the material, the world of ideas, emotions, and associations that lay behind the 
choices Mahler made as he composed. We, too, can draw intimations from them, and 
then remove them as scaffolding we no longer need. And with that, let us turn to a brief 
look at the musical object Mahler left us. 

The first movement accounts for roughly one third of the symphony's length. Start- 
ing with magnificent gaiety, it falls at once into a mood of tragedy — seesawing chords of 
low horns and bassoons, the drumbeats of a funeral procession, cries and outrage. Myst- 
erious twitterings follow, the suggestion of a distant quick march, and a grandly rhetori- 
cal recitative for the trombone. Against all that, Mahler poses a series of quick marches 
(the realizations of what he had adumbrated earlier for just a few seconds), the sorts of 
tunes you can't believe you haven't known all your life and the sort that used to cause 
critics to complain of Mahler's "banality, " elaborated and scored with an astounding 
combination of delicacy and exuberance. Their swagger is rewarded by a collision with 
catastrophe, and the whole movement — for all its outsize dimensions as classical a 
sonata form as Mahler ever made — is the conflict of the dark and the bright elements, 
culminating in the victory of the latter. 

Two other points might be made. One concerns Mahler's fascination, not ignored 
in our century, with things happening "out of time." The piccolo rushing the imitations 
of the violins' little fanfares is not berserk: she is merely following Mahler's direction 
to play "without regard for the beat." That is playful, but the same device is turned to 
dramatic effect when, at the end of a steadily accelerating development, the snare 
drums cut across the oom-pah of the cellos and basses with a slower march tempo of 



Ml 



29 



Week 2 




2007-2008 

SEASON 



BOSTON 

SYMPHONY 
ORCH ESTRA 







DEFINING TRADITION 
AND INNOVATION 



JAMES LEVINE 
MUSIC DIRECTOR 

BERNARD HAITINK 
CONDUCTOR EMERITUS 

SEIJI OZAWA 
MUSIC DIRECTOR 
LAUREATE 





Photography: Michael Lutch 



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30 



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I! 



their own, thus preparing the way for the eight horns in unison to blast the recapi- 
tulation into being. The other thing is to point out that several of the themes heard 
near the beginning will be transformed into the materials of the last three movements 
— fascinating especially when you recall that the first movement was written after the 
others. 

In the division of the work Mahler finally adopted, the first movement is the entire 
first section. What follows is, except for the finale, a series of shorter character pieces, 
beginning with the Blumenstuck, the first music he composed for this symphony. It is a 
delicately sentimental minuet with access, in its contrasting section, to slightly sinister 
sources of energy. Curiously, it anticipates music not heard in the symphony at all, that 
is to say, the scurrying runs from the Life in Heaven song that was dropped from this 
design and finally made its way into the Fourth Symphony. 

In the third movement, Mahler draws on his song Ablosung im Sommer (Relief in 
Summer), whose text tells of waiting for Lady Nightingale to start singing as soon as the 
cuckoo is through. The marvel here is the landscape with posthorn, not only the lovely 
melody itself, but the way it is introduced: the magic transformation of the very "pres- 
ent" trumpet into distant posthorn, the gradual change of the posthorn's melody from 
fanfare to song, the interlude for flutes, and, as Arnold Schoenberg points out, the 
accompaniment "at first with the divided high violins, then, even more beautiful if 
possible, with the horns." After the brief return of this idyll and before the snappy coda, 
Mahler makes spine-chilling reference to the "Great Summons" music in the Second 
Symphony's finale. 

Low strings rock to and fro, the harps accenting a few of their notes, the seesawing 
horn chords from the first pages return, and a human voice intones the Midnight Song 
from Friedrich Nietzsche's Thus spoke Zarathustra (see page 32). Each of its eleven lines 
is to be imagined as coming between the strokes of midnight. Pianississimo throughout, 
warns Mahler. 

From here, the music moves forward without a break, and as abruptly and drastically 
as it changed from the scherzo to Nietzsche's midnight, so does it change from that 
darkness to the bells and angels of the fifth movement. The text comes from Des Knaben 
Wunderhorn (The Boys Magic Horn), though the interjections of "Du sollstja nicht weinen 
("But you mustn't weep") are Mahler's own. A three-part chorus of women's voices car- 
ries most of the text, though the contralto returns to take the part of the sinner. The 
boys' chorus, confined at first to bell noises, joins later in the exhortation "Liebe nur 
Gott" ("Only love God") and for the final stanza. This movement, too, foreshadows the 
Life in Heaven that will not, in fact, occur until the Fourth Symphony: the solemnly 
archaic chords first heard at "Ich hab iibertreten die Zehen Gebof ("I have trespassed 
against the Ten Commandments") will be associated in the later work with details of 
the domestic arrangement in that mystical, sweetly scurrile picture of heaven. Violins 
drop out of the orchestra for this softly sonorous movement. 

The delicate balance between the regions of F (the quick marches of the first move- 
ment, and the third and fifth movements) and D (the dirges in the first movement, the 
Nietzsche song, and, by extension, the minuet, which is in A major) is now and finally 
resolved in favor of D. Mahler perceived that the decision to end the symphony with an 
Adagio was one of the most special he made. "In Adagio movements, " he explained to 
Natalie Bauer-Lechner, "everything is resolved in quiet. The Ixion wheel of outward 
appearances is at last brought to a standstill. In fast movements — minuets, Allegros, 
even Andantes nowadays — everything is motion, change, flux. Therefore I have ended 
my Second and Third symphonies, contrary to custom. . . with Adagios — the higher 
form as distinguished from the lower." 




31 



Week 2 



A noble thought, but, not uniquely in Mahler, there is some gap between theory and 
reality. The Adagio makes its way at the last to a sure and grand conquest, but during 
its course — and this is a movement, like the first, on a very large scale — Ixion's flaming 
wheel can hardly be conceived of as standing still. In his opening melody, Mahler 
invites association with the slow movement of Beethoven's last quartet, Opus 135. Soon, 
though, the music is caught in "motion, change, flux," and before the final triumph, it 
encounters again the catastrophe that interrupted the first movement. The Adagio's 
original title, What love tells me, refers to Christian love — "agape" — and Mahler's drafts 
carry the superscription: "Behold my wounds! Let not one soul be lost." The perform- 
ance directions, too, seem to speak to the issue of spirituality, for Mahler enjoins that 
the immense final bars with their thundering kettledrums be played "not with brute 
strength, [but] with rich, noble tone," and that the last measure "not be cut off sharply," 
so that there is some softness to the edge between sound and silence at the end of this 
most riskily and gloriously comprehensive of Mahler's "worlds." 

— Michael Steinberg 



O Mensch! Gib Acht! 

Was spricht die tiefe Mitternacht? 

Ich schliefl 

Aus tiefem Traum bin ich erwacht! 

Die Welt ist tiefl 

Und tiefer als der Tag gedacht! 

TiefistihrWeh! 

Lust tiefer noch als Herzeleid! 

Weh spricht: Vergeh! 

Doch alle Lust will Ewigkeit! 

Will tief, tiefe Ewigkeit! 

— Friedrich Nietzsche 



Oh man, give heed! 

What does deep midnight say? 

I slept! 

From a deep dream have I waked! 

The world is deep, 

And deeper than the day had thought! 

Deep in its pain! 

Joy deeper still than heartbreak! 

Pain speaks: Vanish! 

But all joy seeks eternity, 

Seeks deep, deep eternity. 






Es sungen drei Engel einen siissen 

Gesang, 
Mit Freuden es selig im Himmel klang, 

Sie jauchzten frohlich auch dabei, 

Dass Petrus sei von Siinden frei. 



Three angels were singing a sweet song: 

With joy it resounded blissfully in 

heaven. 
At the same time they happily shouted 

with joy 
That Peter was absolved from sin. 







32 



I 



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TANGLEWOOD 



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Denn als der Heer Jesus zu Tische sass, 
Mit seinen zwolf Jungern das 

Abendmal ass, 
So sprach der Herr Jesus: "Was stehst 

du denn hier? 
Wenn ich dich anseh', so weinest du 

n 

mir. 

"Und sollt ich nicht weinen, du giitiger 

Gott! 
Du solhtja nicht weinen! 
Ich hab iibertreten die Zehen Gebot; 

Ich gehe und weine ja bitterlich, 
Du solhtja nicht weinen! 
Ach komm und erbarme dich iiber 
mich!" 

"Hast du denn iibertreten die Zehen 

Gebot, 
So fall auf die Knie und bete zu Gott, 

Liebe nur Gott in alle Zeit 
So wirst du erlangen die himmlische 
Freud." 

Die himmlische Freud ist eine selige 

Stadt, 
Die himmlische Freud, die kein End 

mehr hat; 
Die himmlische Freud, war Petro bereit 
Durch Jesum und alien zur Seligkeit. 

— from Des Knaben Wunderhorn 



For as Lord Jesus sat at table, 

Eating supper with his twelve apostles, 

So spoke Lord Jesus: "Why are you 

standing here? 
When I look at you, you weep." 



"And should I now weep, you kind 

God! 
No, you mustn't weep. 
I have trespassed against the Ten 

Commandments. 
I go and weep, and bitterly. 
No, you mustn't weep. 
Ah, come and have mercy on me!" 

"If you have trespassed against the Ten 

Commandments, 
Then fall on your knees and pray to 

God, 
Love only God for ever, 
And you will attain heavenly joy." 

Heavenly joy is a blessed city, 

Heavenly joy, that has no end. 

Heavenly joy was prepared for Peter 
By Jesus and for the salvation of all. 



GUEST ARTISTS 

Stephanie Blythe 

E"' r I The winner of the 1999 Richard Tucker Award, mezzo-soprano Stephanie 
Blythe returns this season to Covent Garden as Azucena in 77 trovatore, to 
^_^^W the Met as Frugola, La Principessa, and Zita in the new production of 
***» Puccini's II trittico, and to Seattle Opera as Isabella in L'italiana in Algeri. 

jf Recent opera engagements have included Baba the Turk in The Rake's 
y ^L Progress, Jocasta in Oedipus Rex, Cornelia in Giulio Cesare, and Mere 
^^k Marie in Dialogues des Carmelites at the Metropolitan Opera; the title role 
M I in Carmen, and Fricka in both Das Rheingold and Die Walkure at Seattle 
Opera; Isabella at Santa Fe Opera; the title role in La Grande Duchesse and Isabella at the 
Opera Company of Philadelphia; the title role in Giulio Cesare at Opera Colorado; Ulrica in 
Un ballo in maschera, Mistress Quickly in Falstaff, and Ino/Juno at the Royal Opera House, 
Covent Garden; Auntie in Peter Grimes, Cornelia, and Mistress Quickly at the Opera National 
de Paris; the tide role in Tancredi with Washington Concert Opera, and the title role in Mignon 
and Malcolm in La donna del lago with the Opera Orchestra of New York in Carnegie Hall. 
On the concert stage this season, she returns to the New York Philharmonic and the Boston 



33 



Symphony Orchestra. Ms. Blythe has appeared with many of the finest orchestras in the 
world, working with such conductors as Harry Bicket, James Cordon, Charles Dutoit, Mark 
Elder, Christoph Eschenbach, James Levine, Sir Charles Mackerras, John Nelson, Antonio 
Pappano, Mstislav Rostropovich, Robert Spano, Patrick Summers, and Michael Tilson 
Thomas. Ms. Blythe's most recent solo CD (including works by Mahler, Brahms, and 
Wagner) was released on the Virgin Classics label, as was her first solo CD (Handel and 
Bach arias). Her premiere performance of Alan Smith's song cycle Vignettes: Ellis Island was 
subsequently presented by Opera News on WNYE's Opera New York television series as 
"Vignettes: An Evening with Stephanie Blythe and Warren Jones." She has been presented 
in recital with Mr. Jones by Lincoln Center at Alice Tully Hall, the 92nd Street Y, and the 
Metropolitan Museum of Art in New York; the Vocal Arts Society, and at the Supreme 
Court at the invitation of Supreme Court Justice Ruth Bader Ginsberg in Washington, 
D.C.; the Cleveland Art Song Festival; the University Musical Society in Ann Arbor, and 
the Philadelphia Chamber Music Society. This season brings a return to the Philadelphia 
Chamber Music Society, and debuts at Zankel Hall (Carnegie Hall) and Baltimore's Shriver 
Hall. Stephanie Blythe made her Boston Symphony debut atTanglewood in August 1998, 
in Beethoven's Ninth Symphony, subsequently returning to Tanglewood for the Beethoven 
Ninth again in 2003, then singing in the performances of Mahler's Eighth Symphony that 
inaugurated James Levine's BSO music directorship in Boston and New York in October 
2004. Her most recent BSO appearances were in Mahler's Symphony No. 3 under James 
Levine's direction at Symphony Hall this past March. 

Tanglewood Festival Chorus 
John Oliver, Conductor 

The Tanglewood Festival Chorus celebrated its thirty-fifth anniversary in 
the summer of 2005. This summer atTanglewood the chorus performs 
with BSO Music Director James Levine in Mendelssohn's Midsummer 
Nights Dream music, Mahler's Symphony No. 3, Verdi's Don Carlo (a con- 
cert performance with the Tanglewood Music Center Orchestra), and 
Berlioz's Damnation of Faust, as well as Haydn's Mass in Time of War and 
Beethoven's Ninth Symphony (the latter also with the TMC Orchestra) 
with guest conductor Rafael Fruhbeck de Burgos. They also perform their 
annual Friday Prelude Concert in Ozawa Hall (this year on July 27) and join James Levine 
and the BSO for European tour performances, following the Tanglewood season, of Damnation 
of Faust in Lucerne, Essen, Paris, and London. The Tanglewood Festival Chorus was organ- 
ized in the spring of 1970, when founding conductor John Oliver became director of vocal 
and choral activities at the Tanglewood Music Center. Made up of members who donate 
their services, and originally formed for performances at the BSO's summer home, the 
Tanglewood Festival Chorus is now the official chorus of the Boston Symphony Orchestra 
year-round, performing in Boston, New York, and at Tanglewood. The chorus has also per- 
formed with the Boston Symphony Orchestra in Europe under Bernard Haitink and in the 
Far East under Seiji Ozawa. It can be heard on Boston Symphony recordings under Ozawa 
and Haitink, and on recordings with the Boston Pops Orchestra under Keith Lockhart and 
John Williams, as well as on the soundtracks to Clint Eastwood's Mystic River, Steven 
Spielberg's Saving Private Ryan, and John Sayles's Silver City. In addition, members of the 
chorus have performed Beethoven's Ninth Symphony with Zubin Mehta and the Israel 
Philharmonic at Tanglewood and at the Mann Music Center in Philadelphia, and participated 
in a Saito Kinen Festival production of Britten's Peter Grimes under Seiji Ozawa in Japan. In 
February 1998, singing from the General Assembly Hall of the United Nations, the chorus 
represented the United States in the Opening Ceremonies of the 1998 Winter Olympics 
when Mr. Ozawa led six choruses on five continents, all linked by satellite, in Beethoven's 
Ode to Joy. The Tanglewood Festival Chorus gives its own Friday-evening Prelude Concert 
each summer in Seiji Ozawa Hall and performed its debut program at Jordan Hall at the 




34 



New England Conservatory of Music in May 2004. 

In addition to his work with the Tanglewood Festival Chorus, John Oliver was for many 
years conductor of the MIT Chamber Chorus and MIT Concert Choir, and a senior lecturer 
in music at MIT. Mr. Oliver founded the John Oliver Chorale in 1977; has appeared as guest 
conductor with the New Japan Philharmonic and Berkshire Choral Institute; and has pre- 
pared the choruses for performances led by Andre Previn of Britten's Spring Symphony with 
the NHK Symphony in Japan and of Brahms's Ein deutsches Requiem at Carnegie Hall. He 
made his Boston Symphony conducting debut in August 1985 and led the orchestra most 
recently in July 1998. 

Women of the Tanglewood Festival Chorus 
John Oliver, Conductor 

The Tanglewood Festival Chorus celebrated its 35th anniversary in 2005. In the following list, 
* denotes TFC membership of 35-37 years, # denotes members of 25-34 years. 



Sopranos 

Meredith Malone Armbrust 

Joy Emerson Brewer 

Alison M. Burns 

Myfanwy Callahan 

Emily Anderson Chinian 

Sarah Dorfman Daniello 

Christine Pacheco Duquette* 

Susan Julian Gates 

Karen Ginsburg 

Bonnie Gleason 

Beth Grzegorzewski 

Elisabeth Hon 

Emily Jaworski 

Donna Kim 

Yoo-Kyung Kim 

Barbara Levy* 

Mariko Matsumura 

Kieran Murray 

Laura Stanfield Prichard 



Livia Racz 
Jessica Rucinski 
Lori Salzman 
Pamela Schweppe 
Joan P. Sherman* 
Kristyn M. Snyer 
Patricia J. Stewart* 
Dana Sullivan 
Lisa Watkins 

Mezzo-sopranos 

Virginia Bailey 
Maisy Bennett* 
Martha A.R. Bewick 
Betty Blanchard Blume 
Betsy B. Bobo 
Laura B. Broad 
Anna Callahan 
Abbe Dalton Clark 
Elizabeth Clifford 



Lauren Cree 
Diane Droste 
Barbara Naidich Ehrmann 
Paula Folkman # 
Dorrie Freedman* 
Irene Gilbride* 
Mara Goldberg 
Erin Graham 
Betty Jenkins 
Antonia R. Nedder 
Fumiko Ohara 
Andrea Okerholm 
Roslyn Pedlar 
Catherine Playoust 
Cypriana V. Slosky 
Ada Park Snider* 
Amber R. Sumner 
Jennifer Walker 
Marguerite Weidknecht 
Ana Withiam 



Felicia A. Burrey, Chorus Manager 
Meryl Atlas, Assistant Chorus Manager 
Jodi Goble, Rehearsal Pianist 

The American Boychoir 

Fernando Malvar-Ruiz, Litton-Lodal Music Director 

Currently celebrating its seventieth anniversary season, The American 
Boychoir is regarded as the United States' premier concert boys' choir and 
one of the finest boychoirs in the world. Its members — boys from grades 
4 through 8, reflecting the ethnic, religious and cultural diversity of our 
nation — come from thirteen states and four foreign countries to pursue a 
rigorous musical and academic curriculum at The American Boychoir 
School, the only non-sectarian boys' choir school in the nation. Founded 
in Columbus, Ohio, in 1937, The American Boychoir has been located in 
Princeton, New Jersey, since 1950. In addition to maintaining an active national and interna- 
tional touring schedule, the ensemble performs and records regularly with such world-class 
artists and ensembles as the Boston Symphony Orchestra, Philadelphia Orchestra, soprano 
Jessye Norman, pop diva Beyonce, and jazz vocalist and conductor Bobby McFerrin. It has 
been extensively recorded and broadcast on radio and television, with some forty commercial 




35 







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recordings to its name. During the past year, it has achieved Gold Record status for record- 
ings it made with the Trans-Siberian Orchestra and Michael W. Smith. A new CD entitled 
"Harmony: American Songs of Faith," the seventh to be produced for its own label, Albemarle 
Records, is scheduled for release in October. During 2006-07, The American Boychoir per- 
formed in twenty-five states stretching from Minnesota to Texas and from Massachusetts to 
Florida. In September, it sang at the Presidential Prayer Service in New York City, attended 
by President Bush and the First Lady, commemorating the fifth anniversary of September 11, 
2001. Other season highlights included the North American premiere of Sir Paul McCartneys 
oratorio, Ecce Cor Meum, at Carnegie Hall, and concerts in Colonial Williamsburg and at 
the John F. Kennedy Center for the Performing Arts in Washington, D.C. The American 
Boychoir made its Boston Symphony Orchestra debut (as the Columbus Boychoir) in the 
American premiere of Britten's War Requiem under Erich Leinsdorf at Tanglewood in July 
1963. Its first BSO appearances as The American Boychoir were in December 1990, in 
Tchaikovsky's The Nutcracker, which it also recorded with the orchestra. It has also sung with 
the BSO in Tchaikovsky's Pique Dame, Mahler's Symphony No. 3, Britten's Spring Symphony, 
Stravinsky's Persephone, and Mahler's Symphony No. 8. To read more about The American 
Boychoir, visit www.americanboychoir.org. 

A native of Spain, Fernando Malvar-Ruiz was appointed Litton-Lodal Music Director 
of The American Boychoir in September 2004 after four years as its associate music director. 
Since then he has toured with the choir to thirty states and Canada. He brings extensive 
experience in the field of choral music to The American Boychoir, having previously directed 
the Columbus (OH) Youth Choir, the Central Illinois Children's Chorus and choirs in Spain 
and Hungary. He has also taught choral music at Parkland College where he conducted the 
school's Chamber Singers. Also widely sought as a guest conductor, lecturer and clinician, 
he served as an artistic director and guest conductor for the 2005 World Children's Choir 
Festival in Hong Kong. For the past eleven summers he has been an instructor in the mas- 
ter's program in music education at the Kodaly Institute at Capital University in Columbus, 
Ohio, where he teaches conducting and musicianship. Mr. Malvar-Ruiz received bachelor's 
degrees in piano performance and music theory from the Real Conservatorio Superior de 
Musica in Madrid. He graduated from Ohio State University with a master's degree in 
choral conducting in 1996 and is pursuing a doctoral degree in musical arts at the University 
of Illinois. 



The American Boychoir 

Fernando Malvar-Ruiz, Litton-Lodal Music Director 



Bruno Baker, NJ 
Christian Betts, OH 
Christopher Bliziotis, NJ 
Peter Carollo, III, NJ 
Jonathan Carpenter, TN 
Alec Carvlin, NJ 
Jesse Chen, NJ 
Duncan Cooke, NJ 
Jason Curtis, PA 
Joseph D'Avanzo, NJ 
Carmine DiFlorio, NJ 
Damiano DiFlorio, NJ 



Brendan Fish, PA 
Stephen Fung, NJ 
John Sayles Hartman, NJ 
Nicholas Home, NJ 
Simon James, DE 
Cameron MacArthur, NJ 
Bryce MacKinnon, NJ 
John MacKinnon, Jr., NJ 
Yoyul Paek, NJ 
Benjamin Sang, NJ 
John Schoellkopf, NJ 
Christopher Sciarrotta, NJ 



Cristian Scott, FL 
Peter Sileo, IL 
Dashawn Smith, NJ 
Daniel Stephans, IL 
Devon Steve, OH 
Uriel Tayvah,NJ 
Parousia Wang, OH 
Max Woolley, NJ 
Charles Yakimischak, NJ 
Nicholas Yepes, NJ 
CorbynYhap,NJ 
Jeremy Zipf, NJ 




37 




2007- 

Tanglewood 



BOSTON SYMPHONY ORCHESTRA 

126th Season, 2006-2007 

Sunday, July 15, at 2:30 
MARK ELDER conducting 




&^& 



STRAUSS 
MAHLER 



Don Juan y Tont poem after Lenau, Opus 20 

Songs of a Wayfarer 

Wenn mein Schatz Hochzeit macht 

Ging heut' Morgen uber's Feld 

Ich hab' ein gliihend Messer 

Die zwei blauen Augen von meinem Schatz 

THOMAS HAMPSON, baritone 
Texts and translations begin on page 45. 



The audience is politely requested to withhold 
applause until after the last song. 



INTERMISSION 



DELIUS 



SIBELIUS 



Cynara, for baritone and orchestra 
(poem by Ernest Dowson) 

Mr. HAMPSON 

Text is on page 49. 

Symphony No. 2 in D, Opus 43 

Allegretto 

Tempo Andante, ma rubato 

Vivacissimo — 

Finale: Allegro moderato 



State Street Global Advisors is proud to sponsor the 2007 Tanglewood season. 



Steinway and Sons Pianos, selected exclusively for Tanglewood 

Special thanks to Delta Air Lines and Commonwealth Worldwide Chauffeured Transportation 



38 



NOTES ON THE PROGRAM 



Richard Strauss (1864-1949) 

Don Juan, Tone poem after Lenau, Opus 20 

First performance: November 11, 1889, Weimar, Strauss cond. First B SO (and first 
American) performances: October 1891, Arthur Nikisch cond. First Tanglewood perform- 
ance: July 24, 1954, Jean Morel cond. Most recent Tanglewood performance: August 16, 
1998, Hans Graf cond. 

It is altogether fitting that Strauss's Don Juan, an evocation of the greatest erotic sub- 
ject of all time, should be composed under the influence of his own first passion for 
Pauline de Ahna, the soprano who was eventually to become his wife. Strauss met her in 
August 1887 while on a visit to his uncle Georg Pschorr in a village an hours ride from 

Munich. Pauline was the daughter of a prominent musical vil- 
lager, General de Ahna, and she had at that time already com- 
pleted vocal studies at the Munich Conservatory, though she 
had made no progress in a career. Strauss, completely smitten 
by the girl, decided to supervise her further instruction, so that 
by the time he took over the opera in Weimar two years later, 
he was able to introduce her as one of the leading sopranos. 
The story of Don Juan has appeared over and over again 
in European literature and music. Strauss knew Mozart's Don 
Giovanni, of course, but his version owes no allegiance to the 
plot or characterization of the Mozart work. Nor did Byron's 
extended narrative poem Don Juan play a direct role in Strauss's plans. He found inspi- 
ration rather in the work of Nikolaus Lenau, an Austrian romantic poet of Hungarian 
birth who had died in a mental asylum in 1850 leaving unfinished a poetic drama on 
Don Juan partly inspired by Byron; the surviving fragments were published in 1851. 
Lenau's version of the legend was a psychological treatment of a man devoted to an ide- 
alistic search for the perfect woman. He glories in the experience of the individual 
moment above all else, but learns that each successful exploit has led to some great 
harm, a fact that makes his existence increasingly burdensome. In the end, challenged 
by the brother of one of the women he has seduced, he throws his sword away at the 
moment when he has all but conquered because he finds victory "as boring as the whole 
of life." His opponent puts an end to his career with a single sword stroke. 

Strauss prefixed three excerpts from Lenau's work to his score. The first two, drawn 
from early in the play, show Don Juan discussing his philosophy with his brother Don 
Diego, who has been sent by their father to bring him home. The last comes from 
shortly before the final confrontation; Don Juan hopes that his enemy will soon put an 
end to his futile life. The poetic excerpts convey nothing of the action of the play, pro- 





In consideration of the performers and those around you, cellular phones, pagers, 
and watch alarms should be switched off during the concert 

Please do not take pictures during the concert. Flashes, in particular, are distracting to 
the performers and other audience members. 

Note that the use of audio or video recording equipment during performances in the 
Music Shed or Ozawa Hall is prohibited. 



39 



Week 2 



vide no details of the women who succumb to the Don's amorous powers. But they con- 
vey something of the psychology of the leading character who acts throughout this 
composition. 

Regarding these excerpts, Donald Francis Tovey wryly remarked, "The philosophy 
of these sentiments is not good citizenship, but it is neither insincere nor weak. It is 
selfish, but not parasitic." It is also clearly not a "plot" for a musical score; there is no 
emphasis on action or any series of incidents. It tells us all Strauss wants us to know 
about his Don Juan. The various women with whom he is involved serve merely as a 
foil for musical ideas, not as individuals. 

For a composer whose father consciously restricted his studies to the classics, partic- 
ularly Mozart and Mendelssohn, and whose earliest compositions followed clearly in 
the same vein, Don Juan is an astonishing achievement, a rocket exploding in a quiet 
countryside. With one stroke Strauss conquered the most advanced style of composition 
and orchestral treatment — and he was himself only twenty- four. Having earlier com- 
posed music that carefully followed the "rules" of classical procedure, however irksome 
they may have become to him, Strauss was converted to the "music of the future" by 
Alexander Ritter, a violinist in his orchestra at Meiningen. Ritter was a devout follower 
of Liszt and Wagner and had married Wagner's niece. He persuaded Strauss that "new 
ideas must search for new forms," and Liszt's procedures in his symphonic poems of 
allowing the poetic element to become the guiding principle for the symphonic work 
dominated Strauss's output for nearly two decades. 

The first result of the conversion was his four-movement symphony Aus Italien 
{From Italy) , which fused conventional structures with new ideas. He followed it with 
the first version of Macbeth, which, after a private reading with his orchestra, he with- 
held for revisions, completed only after the astounding premiere of Don Juan. 

In the fall of 1889, at the recommendation of Hans von Biilow, Strauss became 



VISIT GEORGE AND SUZY'S HOUSE. 
IT'S JUST AROUND THE CORNER. 



X NEWLY RESTORED INTERIORS OF THE 

30s AND 40s RECREATED FROM ARCHIVAL PHOTOGRAPHS 




40 



assistant conductor at the Weimar Opera. His employers there, forward-looking Wag- 
nerians, were enormously impressed when he played Don Juan to them on the piano, 
and they insisted that he give the premiere at a concert of the Weimar orchestra. Though 
Strauss had his doubts about the ensemble's ability to cope with the extraordinary 
demands of the new score, he agreed, rather than wait for an uncertain future perform- 
ance in a larger musical center. The orchestra took the piece well after the initial shock 
of the first rehearsals. One of the horn players remarked, "Good God, in what way have 
we sinned that you should have sent us this scourge!" But Strauss was in good humor 
throughout the difficult rehearsals, and he wrote after the premiere, "We laughed till we 
cried! Certainly the horns blew without fear of death. . .1 was really quite sorry for the 
wretched horns and trumpets. They were quite blue in the face, the whole affair was so 
strenuous." 

From the day of that first tumultuous performance in November 1889, Strauss was 
instantly recognized as the most important German composer to appear since Wagner. 
He was launched on his string of brilliant and innovative orchestral works, and he was 
to continue in that line until his attention gradually was directed almost totally to the 
operatic stage. Even as he conducted Don Juan, Death and Transfiguration, the next in 
his series of "tone poems" (the descriptive term he preferred), lay all but finished on his 
desk. 

— Steven Ledbetter 



Gustav Mahler (1860-1911) 

Lieder eines fahrenden Gesellen (Songs of a Wayfarer) 

First performance of the orchestral version (the work having been composed originally for voice 
and piano): March 16, 1896, Berlin, Mahler cond., Anton Sistermans (bass), soloist. 
First BSO performances: February 1915, Karl Muck cond., Paul Draper (tenor), soloist. 
Only previous Tanglewood performance by the BSO: July 25, 1999, Seiji Ozawa cond., 
Susan Graham (mezzo-soprano), soloist. 

In 1883 the twenty- three-year-old Mahler was an impatient, occasionally insubordi- 
nate second conductor at the opera house in Kassel. Not for the last time in his distin- 
guished career as opera conductor, he became infatuated with 
one of the sopranos on the company roster. To what degree 
his love was returned is not entirely clear; certainly Mahler 
spent many anguished hours of doubt, passing his fears along 
in letters to one of his best friends, Friedrich Lohr. He was 
always supremely discreet about his amours, however, and 
never once mentioned the lady's name in writing. We only 
know who she was because Lohr, to whom Mahler had un- 
burdened his heart when they were spending holidays together, 
used it in writing back to him. The lady in question was one 
Johanna Richter, a new member of the company, about two 
years younger than the composer. 

Johanna Emma Richter never had a career of more than mediocre success. She was 
offered a contract with the Kassel Opera after appearing as a guest artist there in spring 
1883. She left after four years and, throughout her singing career, rarely stayed longer 
than that in any one place. She finally retired from the stage about 1906 and earned her 
living thereafter giving singing lessons and recitals. She lived at least until 1943 (when 
she was in Danzig, or, as it is called today, Gdansk), but there is no indication that she 
ever married, nor do we have any way of knowing whether she herself was aware of her 




41 



Week 2 



role in inspiring Mahler's early masterpiece. 

In August 1884, soon after returning from his vacation with Lohr, Mahler wrote to 
his friend, "I have seen her again, and she is as enigmatic as ever! All I can say is: God 
help me!" By the beginning of 1885 things were no clearer as far as Mahler was con- 
cerned. He sent the following New Year's letter to Lohr: 

My dear Fritz, 

On this morning of New Year's Day let my first thoughts be devoted to you. It 
was a strange way indeed that I spent the first minutes of this year. Yesterday evening 
I was alone with her, both of us awaiting the new year's arrival almost without ex- 
changing a word. Her thoughts were not bent on the present, and when the bell 
chimed and tears gushed from her eyes, it overwhelmed me that I, I might not dry 
them. She went into the adjacent room and stood for a while in silence at the win- 
dow, and when she returned, still weeping, the nameless grief had risen up between 
us like an everlasting partition-wall, and there was nothing I could do but press her 
hand and go. As I came out of the door, the bells were ringing and the solemn 
chorale resounded from the tower. 

Ah, dear Fritz — it was all as though the great director of the universe had meant 



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42 






to stage-manage it perfectly. I wept all through the night in my dreams. 

My signposts: I have written a cycle &f songs, six of them so far, all dedicated to 
her. She does not know them. What can they tell her but what she knows. I shall 
send with this the concluding song, although the inadequate words cannot render 
even a small part. — The idea of the songs as a whole is that a wayfaring man, who 
has been stricken by fate, now sets forth into the world, travelling wherever his road 
may lead him. 
It is most unlikely that the "song" Mahler sent his friend was anything other than 
the text alone. The process of setting four of the six texts to music occupied a good part 
of the next year. The earliest version was for voice with piano accompaniment, but it is 
very unlikely that Mahler thought of this as anything other than a draft of a work, and 
not a completed composition. The earliest manuscript of the score is headed by the 
words (here translated): 

Tale of a "wayfarer" in 4 songs 

for low voice with orchestral accompaniment 

by Gustav Mahler 

Piano reduction for 2 hands 

Though the words "piano reduction" suggest that an orchestral version existed from 
which the piano part was prepared, it is more likely that Mahler had not yet gotten 
around to working out a full score. There are, in fact, a number of differences between 
this early version and the final score, including the fact that the two inner songs of the 
cycle appear in different keys than they finally assumed. So the early version was in sev- 
eral respects a work-in-progress, one that remained unheard — at least in public — for a 
decade. Mahler did not, it seems, begin orchestrating the cycle until after he had fin- 
ished the First Symphony, and probably the Second and a good part of the Third as 
well. He was thus no orchestral neophyte when he did undertake the Wayfarer Songs. 
The First Symphony contains a number of passages that quote material from the song 
cycle, but it now appears as if the symphony was the place where they were first treated 
in any kind of orchestral guise. Early in the 1890s — almost certainly between 1891 and 
1893 — he completed a version of the songs in full score, but he neither published nor 
performed it. Apparently he was still determined to polish and refine the orchestral col- 
ors — and that was exactly what he did, probably during 1894 and 1895. The earlier ver- 
sion survives in a still unpublished manuscript that Mahler gave in 1895 to a lawyer 
friend, Hermann Behn; it was almost totally overlooked until Donald Mitchell analyzed 
it for the second volume of his Mahler study and discovered that it reveals, almost mea- 
sure-by-measure, the process through which Mahler changed orchestral colors, clarified 
lines, and reduced everything with brilliant economy, so that every note "tells," and each 
notational detail specifies quite precisely the way Mahler wanted the instrumentalists to 
articulate the musical lines. 

A few paragraphs ago I referred to the Songs of a Wayfarer as Mahler's earliest master- 
piece. But from the extended chronology of its composition and elaboration, it is clear 
that the final, masterful version we know today is not an "early" work at all, but rather 
more a "middle" work. Why the delay? There is no easy answer to this question. It is 
possible (though not quite definitely established) that the second song, at least, was per- 
formed in Prague, with piano, as early as April 20, 1886, but Mahler seems to have been 
in no hurry to accomplish the final transmutation of the score into orchestral garb. 
Donald Mitchell suggests — purely as a working hypothesis — that Mahler consciously 
put off finishing the Wayfarer Songs, even in a sense "suppressed" them, because of the 
fact that he was using the same material in his First Symphony, for fear that he would 
be reproached as a "song-symphonist" — a charge that was, indeed, leveled at him in any 



43 



Week 2 



case. Be that as it may, we can now hear the symphony as a symphony and the song 
cycle as a song cycle, appreciating the qualities of each and the changes Mahler wrought 
in the material that they share. 

Lieder eines fahrenden Gesellen is a deeply affecting contribution to that very German 
tradition — going back in music to Schubert's Winterreise and in literature still farther — 
that the young man who is unlucky in love must wander the wide world, finding in all 
the brightest and freshest of natural beauties reminders of his lost sweetheart and of his 
misery, which periodically burst beyond the bounds of control, finally to achieve some 
kind of consolation in rest, oblivion, or both. 

— Steven Ledbetter 



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44 



The audience is politely requested to withhold 
applause until after the last song. 



GUSTAV MAHLER, "Songs of a Wayfarer" 



Wenn mein Schatz Hochzeit macht 

Wenn mein Schatz Hochzeit macht, 

frohliche Hochzeit macht, 

hab' ich meinen traurigen Tag! 

Geh' ich in mein Kammerlein, 

dunkles Kammerlein, 

Weine! wein'! Um meinen Schatz, 

um meinen lieben Schatz! 

Bliimlein blau! Bltimlein blau! 
Verdorre nicht! Verdorre nicht! 
Voglein suss! Voglein siiss! 
Du singst auf griiner Heide 
"Ach! wie ist die Welt so schon! 
Zikiith! Zikiith!" 

Singet nicht! Bliihet nicht! 

Lenz ist ja vorbei! 

AUes Singen ist nun aus! 

Des Abends, wenn ich schlafen geh', 

denk' ich an mein Leide! 

An mein Leide! 

Ging heut' Morgen iiber's Feld 

Ging heut' Morgen iiber's Feld, 

Tau noch auf den Grasern hing, 

sprach zu mir der lust'ge Fink: 

"Ei, du! Gelt? 

Guten Morgen! Ei, gelt? Du! 

Wird's nicht eine schone Welt? 

Schone Welt? Zink! Zink! 

Schon und flink! 

Wie mir noch die Welt gefallt!" 

Auch die Glockenblum' am Feld 

hat mir lustig, guter Ding', 

mit den Glockchen, klinge, kling, 

klinge, kling, 

ihren Morgengruss geschellt: 

"Wird's nicht eine schone Welt? 

Schone Welt? Kling! Kling! 

Kling! Kling! Schones Ding! 

Wie mir doch die Welt gefallt! 

Heia! 

Und da fling im Sonnenschein 
gleich die Welt zu funkeln an; 
Alles, alles, Ton und Farbe gewann! 



When my sweetheart marries, 

happily marries, 

it will be a sad day for me! 

I shall go into my little room, 

my dark little room, 

and weep, weep for my sweetheart, 

for my dear love! 

Blue flower, blue flower, 
do not fade, do not fade! 
Sweet bird! Sweet bird! 
You sing on the green meadow 
"Ah! How lovely the world is! 
Chirp! Chirp!" 

Do not sing, do not blossom, 

Spring is past! 

All singing is over! 

In the evening, when I go to sleep, 

I think of my sorrow, 

of my sorrow! 



This morning I went over the field, 

dew was still hanging on the grass, 

The merry finch spoke to me: 

"Ah, is it you? 

Good morning! Hey, you! 

Isn't it a beautiful world? 

Beautiful world? Chirp! Chirp! 

Beautiful and alive! 

How the world pleases me!" 

Even the bluebells in the field 

had a merry song for me, 

with their bells — ting-a-ling! 

ting-a-ling! 

ringing out their morning greeting: 

"Isn't it a beautiful world? 

A beautiful world? Ting-a-ling! 

Ting-a-ling! Beautiful thing! 

How the world pleases me. 

Hola!" 

And then in the sunshine 
the world began to sparkle; 
Everything, everything gained tone and 
color 

Please turn the page quietly. 



45 



Week 2 



Im Sonnenschein! 

Blum' und Vogel, gross und klein. 

"Guten Tag! Guten Tag! 

Ist's nicht eine schone Welt? 

Ei, du! Gelt? 

Ei, du! Gelt? 

Schone Welt!" 

Nun fangt auch mein Gluck wohl an! 
Nun fangt auch mein Gluck wohl an! 
Nein! Nein! Das ich mein', 
Mir nimmer, nimmer bluhen kann! 

Ich nab' ein gluhend Messer 

Ich hab' ein gluhend Messer, 

ein Messer in meiner Brust, 

O weh! O weh! 

Das schneid't so tief 

in jede Freud' und jede Lust, 

so tiefl so tief! 

Es schneid't so weh und tief! 

Ach, was ist das fur ein boser Gast! 

Ach, was ist das fur ein boser Gast! 

Nimmer halt er Ruh' 

nimmer halt er Rast! 

Nicht bei Tag, 

nicht bei Nacht, wenn ich schlief! 

O weh! O weh! O weh! 

Wenn ich in den Himmel seh' 

seh' ich zwei blaue Augen steh'n! 

O weh! O weh! 

Wenn ich im gelben Felde geh', 

seh' ich von fern das blonde Haar 

im Winde weh'n! 

O weh! O weh! 

Wenn ich aus dem Traum auffahr' 

und hore klingen ihr silbern Lachen, 

O weh! O weh! 

Ich wollt' ich lag' auf der 

schwarzen Bahr', 
konnt' nimmer, nimmer die Augen 

aufmachen! 



in the sunshine! 

Flower and bird, large and small. 

"Good day! Good day! 

Isn't it a beautiful world? 

Hey, you? Am I right? 

Hey, you? Am I right? 

Beautiful world!" 

Now, perhaps, my happiness will begin. 
Now, perhaps, my happiness will begin. 
No, no! I am sure of that — 
my life can never, never blossom! 



I have a glowing dagger, 

a dagger in my breast, 

alas! alas! 

It cuts so deeply 

into every joy and every happiness, 

so deeply! So deeply! 

It cut so painfully and deeply! 

Ah, what an unwelcome guest it is! 

Ah, what an unwelcome guest it is! 

It never grants me peace, 

never grants me rest! 

Not by day, 

not by night, when I would sleep! 

Alas! Alas! Alas! 

When I look into the sky, 

I see two blue eyes! 

Alas! Alas! 

Whenever I go into the golden fields, 

I see from afar her blonde hair 

blowing in the wind! 

Alas! Alas! 

When I start up from my dreams 

and hear her silvery laughter ringing, 

Alas! Alas! 

I wish I were lying on the 

black bier, 
never, never to open my eyes again! 



Die zwei blauen Augen von meinem Schatz 

Die zwei blauen Augen von meinem My love's two blue eyes 

Schatz, 
die haben mich in die weite Welt 

geschickt. 
Da musst' ich Abschied nehmen 

vom allerliebsten Platz! 
O Augen blau, warum habt ihr mich 

angeblickt? 
Nun hab' ich ewig Leid und Gramen! 



have sent me forth into the world. 

I had to bid farewell 

to the place I loved the most! 
Oh, blue eyes, why did you ever look 

at me? 
Now I have eternal pain and torment! 



46 



Ich bin ausgegangen in stiller Nacht, 

wohl uber die dunkle Heide. 

Hat mir niemand Ade gesagt. 

Ade! Ade! Ade! 

Mein GeselT war Lieb' und Leide. 

Auf der Strasse stand ein Lindenbaum, 
da hab' ich zum ersten Mai im Schlaf 

geruht! 
Unter dem Lindenbaum, 
Der hat seine Bliiten iiber mich 

geschneit — 
da wusst' ich nicht wie das Leben tut, 
war alles, alles wieder gut! 
Ach, alles wieder gut! 
Alles, Lieb' und Leid, 
und Welt, und Traum! 

— Gustav Mahler 



I left in the stillness of night, 

across the dark heath. 

No one said farewell to me. 

Farewell! Farewell! Farewell! 

My companions were love and sorrow. 

On the street stood a linden tree, 
where I rested in sleep for the first time! 

Under the linden tree, 

which snowed its blossoms over me — 

then I no longer knew what life does — 
everything was good again! 
Oh, everything good again! 
Everything — love, and sorrow, 
and the world and my dreams! 

— trans. Steven Ledbetter 



Please withhold applause until the music, 
which ends quietly, has stopped. 



Frederick Delius (1862-1934) 

Cynara, for baritone and orchestra (Poem by Ernest Dowson) 

First performance: October 18, 1929, London, BBC Symphony Orchestra, Sir Thomas 
Beecham cond., John Goss, soloist. This is the first performance by the Boston Symphony 
Orchestra. The poem is "Non sum qualis eram bonae sub regno Cynarse" by Ernest 
Dowson (1867-1900); see page 48. 

Delius is classified as an English composer, yet after his Yorkshire childhood had 
passed he spent very little time in the country of his birth, and his music does not in the 
least resemble that of English contemporaries such as Elgar and Hoist. As a young man 
he spent two years near Jacksonville, Florida, pretending to be an orange grower but 

actually studying music, followed by two years at the Leipzig 
Conservatory where he met Grieg, whose music he greatly 
admired. From Germany he moved to Paris and there lived 
the true Bohemian life at the height of the belle epoque. He 
was part of a group of cosmopolitan figures, including writers 
and painters, drawn to Paris by its cultural magnetism, and his 
/**^^| j fi rst mature compositions appeared, including the tone poem 
\ ^ -m^m " ^ aris: The Song of a Great City in 1899. 

v w9k 1 From 1897 until his death he lived in a small village an 

j hour out of Paris called Grez-sur-Loing, where he found the 
111 m L m I tranquility he needed for his work and where many friends 

came to visit him. His music, which has affinities with that of Wagner, Grieg, and 
Debussy in a luxuriant late Romantic idiom, included operas, tone poems, and a number 
of fine choral works with orchestra. He set poems in many languages, but chose English 
texts for his operas and his most important choral works. These include Walt Whitman's 
Sea Drift and translations of Nietzsche for his Mass of Life. 

In 1906 Delius composed a group of songs for voice and orchestra on poems by 




47 



Week 2 



Ernest Dowson, whose brilliant star shone briefly in the 1890s before sinking into a 
decadent, drunken delirium and an early grave in 1900. These Songs of Sunset were for 
soprano, baritone, chorus, and orchestra, and were performed by Sir Thomas Beecham 
in London in 1911. Delius had started one more song as part of the cycle but felt that it 
did not fit with the rest, so he left it unfinished and forgot about it. The rest of the story 
must be told in the words of Eric Fenby, the young man who, in 1928, had heard about 
the composer's crippling paralysis and blindness (the baleful effect of syphilis contracted 
many years earlier) and presented himself at Delius's door with the offer to help. Com- 
poser and amanuensis soon developed a remarkable understanding which allowed Delius 
to compose again by dictation. 

One day in the summer of 1929 Fenby came across a sketch for a work he did not 
recognize. "I was on the point of dismissing it, when it occurred to me that it would be 
fun to play it over. This was not easy, for, after the first page, there were no indications 
in the wood-wind and brass as to what instruments these faintly pencilled notes and 
phrases were to be given, and at first sight I could only surmise, by their vague positions 
on the score-paper, that such and such a phrase looked like a bassoon counterpoint, and 
some such other looked like an English-horn part. I did not know Dowson's poem at 
the time, and when I went down to supper I asked Delius if he remembered making a 
rough draft of a work for baritone and orchestra, to which he replied that he did not, 
but that if I would play it over to him that night he might be able to enlighten me. 

"When they had taken him up to bed and had opened the doors to the music-room, 
the gods lent me their fingers and their eyes. Yes, he remembered it now. It was a sketch 
for a setting of Dowson's 'Cynara'. He had written it twenty- four years before, intending 
to include it as one of the numbers in Songs of Sunset. Before saying goodnight, I read 
through the poem to him, and several days later he was carried up to the music-room 
and, as I recollect only too well, began to work on the score again with an excitement 
that puzzled me." The completed Cynara was performed four months later during a 
Delius Festival put on by Sir Thomas Beecham in London. Delius attended as a ghost- 
ly, emaciated figure in a wheelchair. 

Dowson's poem was written on February 6, 1891, in the Cock Tavern in Shaftesbury 
Avenue, London, one of his regular haunts, using the stub of a pencil on scraps of paper 
torn from business letters. He was in love with Adelaide, the twelve-year-old daughter 
of a Polish restaurateur, and it is usually supposed that she symbolized for Dowson an 
ideal of love which must ultimately be lost. The poem's title, "Non sum qualis eram 
bona? sub regno Cynarae," refers to an Ode by Horace which calls on Venus to stop tor- 
menting him: "Spare me, I beseech you. I am not the man I was under the dominion 
of good-natured Cynara. Forbear, O cruel mother of soft desires." Dowson's poem gave 
to the world the phrase "Gone with the wind" and suggested to Cole Porter the lyric 
"Always true to you darling in my fashion" in Kiss Me Kate. 

Dowson's evocative lines find a perfect match in Delius's richly sensuous music. He 
was a master of creamy harmony scored for a large orchestra from which a constantly 
shifting palette of sound emerges: English horn, contrabassoon, some touches of percus- 
sion, soft horn chords, a solo violin. Delius's many admirers respond instinctively and 
warmly to music as passionate as this. 

— Hugh Macdonald 




48 



DELIUS "Cynara" (Poem by Ernest Dowson) 

Last night, ah, yesternight, betwixt her lips and mine 
There fell thy shadow, Cynara! thy breath was shed 
Upon my soul between the kisses and the wine; 
And I was desolate and sick of an old passion, 

Yea, I was desolate and bowed my head: 
I have been faithful to thee, Cynara! in my fashion. 

All night upon mine heart I felt her warm heart beat, 
Night-long within mine arms in love and sleep she lay; 
Surely the kisses of her bought red mouth were sweet; 
But I was desolate and sick of an old passion, 

When I awoke and found the dawn was gray: 
I have been faithful to thee, Cynara! in my fashion. 

I have forgot much, Cynara! gone with the wind, 
Flung roses, roses riotously with the throng, 
Dancing, to put thy pale, lost lilies out of mind; 
But I was desolate and sick of an old passion, 

Yea, all the time, because the dance was long: 
I have been faithful to thee, Cynara! in my fashion. 

I cried for madder music and for stronger wine, 
But when the feast is finished and the lamps expire, 
Then falls thy shadow, Cynara! the night is thine; 
And I am desolate and sick of an old passion, 

Yea, hungry for the lips of my desire: 
I have been faithful to thee, Cynara! in my fashion. 



Jean Sibelius (1865-1957) 
Symphony No. 2 in D, Opus 43 

First performance: March 8, 1902, Helsinki Philharmonic, Sibelius cond. First B SO 
performances: March 1904, Wilhelm Gericke cond. First Berkshire Festival performance: 
August 13, 1936, Serge Koussevitzky cond. First Tang/ewood performance: August 13, 
1939, Koussevitzky cond. Most recent Tang/ewood performance: August 17, 2002, Robert 
Spano cond. 

Jean Sibelius's musical expression is intimately tied to the elemental powers of nature; 

throughout his life, he cherished a continued awareness of the world around him. His 

earliest piece, for violin and cello pizzicato, was called Water- 
drops. As a young violin student, he would spend hours im- 
provising on the instrument while wandering in the woods or 
by the lake near his family's quiet home in Finland's interior. 
Years later, as he observed in his diaries, the beauties of the 
land near his country estate in Jarvenpaa helped distract him 
from the atrocities of civil war that ravaged Finland in the 
final phase of its struggle against Russia at the close of World 
War I. Perhaps it is the elemental nature of his music that ex- 
plains the composer's international popularity even during his 
own lifetime: the basic impulse strikes home entirely without 

our needing to analyze his achievement. In fact, when his biographer Bengt de Torne 




II 



49 



Week 2 



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50 



mentioned to the composer "the impression which always takes hold. . . when returning 
to Finland across the Baltic. . . low, reddish granite rocks emerging from the pale blue sea, 
solitary islands of a hard, archaic beauty. . . this landscape [that] many centuries ago was 
the cradle of the Vikings," Sibelius responded eagerly, his eyes flashing: "Yes, and when 
we see those granite rocks we know why we are able to treat the orchestra as we do!" 

Having given up legal studies to pursue music in Berlin and then in Vienna, during 
which time his compositions were performed in Finland with increasing success, the 
twenty-six-year-old Sibelius secured his reputation at home in April 1892 with the first 
performance of his eighty- minute symphonic poem Kullervo for soloists, male chorus, 
and orchestra. Soon after this came the symphonic poem En Saga and then the music 
of the Karelia Suite, the latter written for an historical pageant at the University of Hel- 
sinki. Robert Kajanus, conductor of the Finnish National Orchestra, a champion of 
Finnish music and of his friend Sibelius in particular, afforded the composer many op- 
portunities to appear throughout Scandinavia and Europe. By the early 1900s Sibelius 
was invited regularly to conduct in Germany and elsewhere, both on the continent and 
in England, and that period also saw the beginning of his international reputation, which 
was consolidated through the appearance of the first five symphonies between 1899 
and 1915 (though the final version of the Fifth appeared only in 1919). Two of Sibelius s 
most enduringly popular works — Finlandia and the Second Symphony — were written 
early in this period, at a time when the forces of Finnish nationalism were severely 
threatened by Russian domination. 

Among the repressive measures imposed by the Russians was the "February Mani- 
festo" of 1899, which aimed to deprive Finland of its autonomy by curtailing freedom 
of speech and assembly. In early November that year, the "Press Pension Celebrations" 
ostensibly designed to raise money for the pension funds of newspapermen were in fact 




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51 



intended to provide both financial and moral support for a struggling, beleaguered press. 
The three-day celebration's main event took place on November 4, a gala performance 
featuring a set of historical tableaux with music by Sibelius, who wrote seven numbers 
in all. The final tableau began with the words, "The powers of darkness menacing Fin- 
land have not succeeded in their terrible threat. Finland awakes. . .," and it was the music 
for this scene that became, in its revised version of 1900, Finlandia. 

Finlandia and the Second Symphony are linked by two factors of immediate interest: 
the political context in which they were written, and the fact that the idea for an over- 
ture entitled Finlandia was actually suggested to Sibelius in a letter from an anonymous 
admirer who introduced himself a short while later as Axel Carpelan. For several months 
beginning in February 1901, using funds secured for him by Carpelan, Sibelius vaca- 
tioned with his family in Italy, where he sketched the Second Symphony. Putting aside 
plans to work on a Dante-inspired tone poem, Sibelius completed the symphony, which 
he dedicated to Carpelan, early the following year, though revisions forced postponement 
of the premiere until March. Also on the program — which the composer led four times, 
to sold-out houses — were an overture in A minor and an Impromptu for female voices 
and orchestra written by Sibelius especially for the occasion. The first performance took 
place on March 8 at Helsinki. 

Sibelius had by now come to represent an embodiment of Finland's national pride; 
he had been among the first to sign a recent petition protesting a Russian plan to dis- 
solve the Finnish army in yet another attempt by Russia to undermine Finland's identity. 
With this in mind, it is easy to understand how Robert Kajanus chose to read a political 
message — never specifically intended by the composer — into the music. In an article 




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52 



following the premiere, Kajanus wrote: 

. . . The Andante strikes one as the most broken-hearted protest against all injustice 
that threatens at the present time to deprive the sun of its light and our flowers of 
their scent... The scherzo gives a picture of frenetic preparations. Everyone piles his 
straw on the haystack, all fibres are strained and every second seems to last an hour. 
One senses in the contrasting Trio section with its oboe motive in G-flat what is at 
stake. The finale develops toward a triumphant conclusion intended to rouse in the 
listener a picture of lighter and confident prospects for the future. 

To fill out this programmatic interpretation, it is worth mentioning, too, that when the 
Boston Symphony Orchestra performed the Second Symphony under Finnish conduc- 
tor Georg Schneevoigt in 1924, Schneevoigt observed to the BSO's program annotator 
Philip Hale that, regarding the beginning, "the composer's intention was to depict in the 
first movement the quiet, pastoral life of the Finns undisturbed by thought of oppression." 

There is of course no denying that the conclusion of the Second Symphony is "tri- 
umphant," but the work's dramatic progress can be appreciated just as well in purely 
musical terms. There is a fluidity of motion that constantly engages the ear, deriving in 
part from the choice of broad-breathed time signatures (e.g., 6/4 in the first movement, 
12/4 for the oboe melody of the scherzo's contrasting section, 3/2 for the finale), and 
also from the composer's unerring feel for the orchestral palette, as he adds layer upon 
layer of sound to achieve each climax, sets individual instrumental colors against the 
whole, and highlights these colors within ever-varying textures. The first two move- 
ments are of a piece, the nobility of the Andante responding to the questions raised by 
the opening Allegretto. The last two movements are literally connected, the Vivacissimo 
bursting forth with the symphony's fastest and most furious music, the contrasting oboe 
melody (whose repeated notes hark back to the symphony's opening) leading on its sec- 
ond appearance directly to the finale in one of Sibelius's boldest strokes of invention — 
one that he would elaborate with ever-increasing ingenuity and originality in the sym- 
phonies yet to come. 

—Marc Mandel 



GUEST ARTISTS 

Mark Elder, CBE 

Music director of the Halle Orchestra since September 2000, Mark Elder 
served as music director of English National Opera between 1979 and 
1993, principal guest conductor of the City of Birmingham Symphony 
Orchestra (1992-1995), and music director of the Rochester Philharmonic 
Orchestra (1989-1994). He has also been principal guest conductor of 
both the BBC Symphony Orchestra and the London Mozart Players. He 
works regularly with many of the world's leading symphony orchestras 
and, in the United Kingdom, enjoys close associations with both the 
London Philharmonic and the Orchestra of the Age of Enlightenment. His longstanding 
annual appearances at the Proms in London have included the internationally televised Last 
Night of the Proms in 1987 and 2006, and, since 2003, performances with the Halle Orches- 
tra. Mark Elder works at the Royal Opera House-Covent Garden, the Metropolitan Opera 
in New York, Opera National de Paris, Lyric Opera of Chicago, Glyndebourne Festival 
Opera, and Bayerische Staatsoper Munich; other guest engagements have taken him to the 
Bayreuth Festival (where he was the first English conductor to lead a new production), 
Amsterdam, Geneva, Berlin, and Sydney. During his years at ENO the company garnered 
international acclaim for its work in London and on tour to the United States and Russia. 
He has recorded with the Halle, London Philharmonic, City of Birmingham Symphony 




53 



Orchestra, BBC Symphony Orchestra, the Orchestra of the Age of Enlightenment, the 
Orchestra of the Royal Opera House, and the Rochester Philharmonic, as well as with 
English National Opera. In 2003 the Halle launched its own CD label; the first releases, 
under Mark Elder's direction, have met with universal critical acclaim. In collaboration with 
Barrie Gavin, he made a two-part film about Verdi for BBC-TV in 1994, which was fol- 
lowed by a similar project on Donizetti for German television in 1996. Forthcoming guest 
engagements include performances with the Berlin Philharmonic, Chicago Symphony, 
Munich Philharmonic, Gurzenich-Orchester Kolner Philharmonic, Netherlands Radio 
Philharmonic, London Symphony, London Philharmonic, and the Orchestra of the Age of 
Enlightenment. Recent and future operatic engagements include Tannhauser, Mefistofele, 
Otello, and Samson for the Metropolitan Opera; Pelleas et Melisande, Turandot, and Berlioz's 
La Damnation de Faust for Opera National de Paris; The Rakes Progress, Euryanthe, and 
Fidelio for Glyndebourne; La battaglia di Legnano, La Cenerentola, Attila, Lohengrin, Simon 
Boccanegra, Turandot, La boheme, II barbiere di Siviglia, concert performances of Donizetti's 
Dom Sebastien (also recorded for Opera Rara), Alfano's Cyrano de Bergerac, Stiff elio, Ariadne, 
Elektra, and / Capuleti ed i Montecchi for Covent Garden; Don Carlo in Genova; Hansel und 
Gretel, Un ballo in maschera, and Faust for Lyric Opera of Chicago; and 77 trovatore in Flor- 
ence. Mark Elder was awarded the CBE by the Queen in 1989 and won an Olivier Award 
in 1991 for his outstanding work at ENO. In May 2006 he was named Conductor of the 
Year by the Royal Philharmonic Society. He made his Boston Symphony Orchestra debut 
on July 25, 2004, at Tanglewood; this is his first appearance with the BSO since then. Also 
this summer he makes his first appearance with the Tanglewood Music Center Orchestra, 
conducting Shostakovich's Symphony No. 1 this Monday night. 



irae appa r e 
j e ^v\r g 1 r vj 

accessories 




22 walker street lenox ma 413.637.9875 



54 







Thomas Hampson 

Thomas Hampson is a singer, actor, scholar, teacher, passionate golfer, 
avid collector of books, and a committed advocate of new technologies. 
Raised in Spokane, Washington, he studied with Sr. Marietta Coyle, Mar- 
tial Singher, Horst Giinter, and Elisabeth Schwarzkopf. His passion for the 
Lied repertoire is not restricted to the German Romantics. He has devoted 
himself especially to composers of his native country through concert 
series and recordings as well as TV and multimedia projects. Chief among 
these has been a twelve-city United States recital tour in 2005-06, with 
pianists Wolfram Rieger and Craig Rutenberg, entitled "Song of America" and presented in 
collaboration with the Library of Congress; the tour will continue in 2008. Song and singing 
to Thomas Hampson are the "diary of our existence" and therefore of the greatest significance 
for intercultural dialogue and understanding. To provide a forum for this kind of exchange, 
he in 2003 established the HAMPSONG Foundation. Its website, www.hampsong.org, not 
only serves as an archive of his own activities as a musician and scholar but also makes avail- 
able the results of these activities to a larger audience. If as a Lied singer Thomas Hampson 
has set new standards, his musical versatility has allowed him to be equally successful in 
opera, operetta, oratorio, and musical theater. His repertoire includes the title roles of Don 
Giovanni, II barbiere di Siviglia, Guillaume Tell, Macbeth, Simon Boccanegra, Eugene Onegin, 
Ambroise Thomas's Hamlet, Massenet's Werther (in the baritone version), Busoni's Doktor 
Faust, Szymanowski's King Roger, Britten's Billy Budd, Hans Werner Henze's Der Prinz von 
Homburg, and the world premiere of Friedrich Cerha's Der Riese vom Steinfeld. In addition, 
he has sung the Count in Le nozze di Figaro, Germont, Renato, the Marquis of Posa, Wolfram, 
Amfortas, Mandryka, Oreste in Gluck's Iphigenie en Tauride, and Athanael in Massenet's 
Thais. In these and other roles he appears at the world's major opera houses, while being par- 
ticularly associated with the Zurich Opera, Metropolitan Opera, San Francisco Opera, Opera 
National de Paris, the Royal Opera House-Covent Garden, and the Vienna State Opera. His 
numerous recordings include most of his opera roles and cover a broad stylistic range, from 
Monteverdi's Vespers and Bach cantatas, which he recorded at the beginning of his career 
with Nikolaus Harnoncourt, to Mendelssohn oratorios, as well as works by Walton, Vaughan 
Williams, Delius, Durufle, and American composer Elinor Remick Warren, to operettas by 
Franz Lehar and Johann Strauss, to musical theater. Most of these recordings have won dis- 
tinguished prizes, among them the Grammy and Gramophone Award, the Grand Prix du 
Disque, the Edison Prize, and the Echo Klassik. Thomas Hampson has been awarded several 
honorary doctorates, honorary membership in the Royal Academy of Music, the title of Cheva- 
lier des Arts et des Lettres, and the Austrian Honorary Medal (Ehrenkreuz) for Science and 
Art. Mr. Hampson made his Tanglewood and BSO debuts in July 1991 (during a weekend 
dedicated to the memory of Leonard Bernstein), singing music of Bernstein and Mahler 
with the Tanglewood Music Center Orchestra, and appearing with Seiji Ozawa and the 
BSO as soloist in Brahms's Ein deutsches Requiem. Subsequent BSO appearances included 
Orff's Carmina burana under Seiji Ozawa in August 1992, selections from Mahler's Wunder- 
horn songs in Boston and New York in May 2001 also under Ozawa, and a Pension Fund 
concert in February 2004 singing Mahler's Songs of a Wayfarer under Christoph von Dohnanyi. 
This Tuesday night he also appears in Ozawa Hall, singing music of Schumann and Mahler in 
a program with pianist Wolfram Rieger and the Boston Symphony Chamber Players. 




55 



■filBV 



if 



BOSTON SYMPHONY ORCHESTRA 

August 31- September 2 



^•scr/v;** 



Tangle wood 20O7 
Jazz Festival 

Visit our new website at tangleWOOd.org. 



AUGUST 31 FRIDAY, BPM 



Hugh Masekela 

Poncho Sanchez Latin Jazz Band 



SEPTEMBER 1 SATURDAY, 3PM 



Live taping of Marian McPartland's 
"Piano Jazz" for NPR with special 
guest Renee Rosnes 



SEPTEMBER 1 SATURDAY, 8PM 



Kurt Elling with very special friends 
Randy Crawford & Joe Sample 



SEPTEMBER 2 SU N DAY, 1:30PM 



Kevin Mahogany's 
Kansas City Revue 

Featuring the music of Big Joe 
Turner, starring Cyrus Chestnut 
& Red Holloway, featuring 
Kathy Kosins & the Chuck 
Bergeron Trio 

BossaBrasil 

Featuring the Cesar Camargo 
Mariano-Romero Lubambo 
Duo and special guest from 
Brazil, vocalist Leny Andrade 

The Maria Schneider Orchestra 



SEPTEMBER 2 SUNDAY 



Hank Jones & Roberta Gambarini 
Ahmad Jamal & Jimmy Heath 



Jazz Cafe Schedule 



Back by popular demand, the 
Tanglewood Jazz Cafe features 
exciting new artists prior to each 
show in a relaxed cabaret-style set- 
ting (free of charge with ticket to 
mainstage performance). 

FRI AUG 31 6:30PM Aruan Ortiz 
SAT SEPT 1 1:30PM MinaAgossi 
SAT SEPT 1 630PM Grace Kelly 
SUN SEPT 2 12noon 

Sachal Vasandani 
SUN SEPT 2 5PM 

The Edmar Castaneda Trio 
SUN SEPT 2 6:30PM Chiara Civello 



MARIA SCHNEIDER 




MARIAN MCPARTLAND 



All performances are in Ozawa Hall. 



NeW ThiS Year! An All-Day Lawn PaSS, $33 Available for Saturday and Sunday 



Tickets: $17 - $68 • tanglewood.org • 888-266-1200 



CUNARD 



k 



Tanglewood Jazz Festival Sponsor 



BORD£RS. 

BOOKS MUSIC MOVIES CAFE 

The Exclusive Music Seller of 
The Tanglewood Jazz Festival 



JazzTunesmom 

...more than a magazine 

The Exclusive Music Magazine 
of the Tanglewood Jazz Festival 



56 



THE KOUSSEVITZKY SOCIETY 

The Koussevitzky Society recognizes gifts made since September 1, 2006, to the 
following funds: Tanglewood Annual Fund, Tanglewood Business Fund, Tanglewood 
Music Center Annual Fund, and Tanglewood restricted annual gifts. The Boston 
Symphony Orchestra is grateful to the following individuals, foundations, and busi- 
nesses for their annual support of $3,000 or more during the 2006-2007 season. For 
further information, please contact Barbara Hanson, Manager of the Koussevitzky 
Society, at (413) 637-5278. 



■ 



Linda J.L. Becker 
George and Roberta Berry 



A Friend of the Tanglewood 

Music Center 
Jan Brett and Joseph Hearne 
Sally and Michael Gordon 



VIRTUOSO $50,000 to $99,999 

Country Curtains Carol and Joe Reich in memory 

Dorothy and Charlie Jenkins of Nan Kay 



ENCORE $25,000 to $49,999 

Joyce and Edward Linde 
Mrs. Evelyn Nef 
Susan and Dan Rothenberg 
Dr. and Mrs. Michael Sporn 



Mr. and Mrs. James V. Taylor 
Stephen and Dorothy Weber 



Robert and Elana Baum 
BSO Members' Association 
Canyon Ranch in the Berkshires 
Joseph and Phyllis Cohen 
Cynthia and Oliver Curme 
Ginger and George Elvin 
Daniel Freed in memory of 

Shirlee Cohen Freed 
The Frelinghuysen Foundation 



MAESTRO $15,000 to $24,999 

Cora and Ted Ginsberg 
Leslie and Stephen Jerome 
Stephen B. Kay and Lisbeth 

Tarlow 
Mr. and Mrs. John M. Loder 
James A. Macdonald Foundation 
Jay and Shirley Marks 
Mrs. August R. Meyer 
Drs. Eduardo and Lina Plantilla 



Irene and Abe Pollin 

The Red Lion Inn 

Carole and Edward I. Rudman 

Dr. Raymond and Hannah H. 
Schneider 

Tony, Pam and Sarah Schneider 
in honor of Hannah and Ray's 
60th wedding anniversary 



BENEFACTORS $10,000 to $14,999 



The Berkshires Capital Investors 
Blantyre 

Ms. Sandra L. Brown 
Catherine and Paul Buttenwieser 
Ms. Agatina Carbonaro 
Erskine Park LLC 
Hon. and Mrs. John H. 
Fitzpatrick 



Nancy J. Fitzpatrick and Lincoln 

Russell 
The Hon. Peter H.B. 

Frelinghuysen 
Mr. and Mrs. Lawrence S. Horn 
Margery and Everett Jassy 
In memory of Florence and 

Leonard S. Kandell 



Robert and Luise Kleinberg 
Mrs. Millard H. Pryor, Jr. 
Mr. Alan Sagner 
Mr. and Mrs. Ira Sarinsky 
Evelyn and Ronald Shapiro 
The Studley Press, Inc. 
Anonymous (1) 



Abbott's Limousine 6c Livery 

Service, Inc. 
Norman Atkin, M.D. and Phyllis 

Polsky 
Ann and Alan H. Bernstein 
Mr. and Mrs. Paul Berz 
Mr. and Mrs. Lee N. Blatt 
Brad and Terrie Bloom 
Broadway Manufacturing 

Supply LLC 
Ann Fitzpatrick Brown 
Ronald and Ronni Casty 
Mr. John F. Cogan, Jr. and 

Ms. Mary L. Cornille 
James and Tina Collias 
Dr. Charles L. Cooney and 

Ms. Peggy Reiser 



SPONSORS $5,000 to $9,999 

Ranny Cooper and David Smith 
Mr. and Mrs. Herbert J. Coyne 
Crane 8c Company, Inc. 
Mr. and Mrs. William F Cruger 
Mr. and Mrs. Clive S. Cummis 
Paul F. and Lori A. Deninger 
Ursula Ehret-Dichter and 

Channing Dichter 
Ms. Marie V. Feder 
Doucet and Stephen Fischer 
Mr. and Mrs. Dale E. Fowler 
Herb and Barbara Franklin 
Dr. Donald and Phoebe Giddon 

in memory of Rabbi Howard 

Greenstein 
Roberta and Macey Goldman 
Mr. and Mrs. Robert A. Goodman 



Corinne and Jerry Gorelick 

John and Chara Haas 

Mr. and Mrs. Scott M. Hand 

Joseph K. and Mary Jane Handler 

Dr Lynne B Harrison 

Mr. and Mrs. Francis W. Hatch, Jr. 

Mrs. Paul J. Henegan 

Mrs. Marilyn Brachman Hoffman 

Dr. and Mrs. Edwin H. Hopton 

Stephen and Michele Jackman 

Prof, and Mrs. Paul Joskow 

Mr. and Mrs. Michael P. Kahn 

Mr. and Mrs. Louis Kaitz 

Martin and Wendy Kaplan 

Natalie Katz in memory of 

Murray S. Katz 
Leo A. Kelty 



57 



Continued on next page 




SPONSORS $5,000 to $9,999 (continued) 



Mr. and Mrs. Michael Kittredge 
Mr. and Mrs. Jacques Kohn 
Koppers Chocolate 
Liz and George Krupp 
Norma and Sol D. Kugler 
William and Marilyn Larkin 
Legacy Banks 

Mr. and Mrs. Jesse J. Lehman 
Cynthia and Robert J. Lepofsky 
Mrs. Vincent Lesunaitis 
Buddy and Nannette Lewis 
Mr. and Mrs. Murray Liebowitz 
Phyllis and Walter F. Loeb 
Mr. and Mrs. Edwin N. London 
Dr. Robert and Jane B. Mayer 
Mr. and Mrs. Thomas T. McCain 
Carol and Thomas McCann 
Mr. and Mrs. John C. Morris 
Mrs. Alice D. Netter 
Mr. and Mrs. Chet Opalka 
Patten Family Foundation 



Polly and Dan Pierce 
Claudio and Penny Pincus 
Mr. Frank M. Pringle 
Quality Printing Company, Inc. 
The Charles L. Read Foundation 
Robert and Ruth Remis 
Elaine and Bernard Roberts 
Barbara and Michael Rosenbaum 
Maureen and Joe Roxe/ 
The Roxe Foundation 
David and Sue Rudd 
Mr. and Mrs. Kenan E. Sahin 
Malcolm and BJ Salter 
Marcia and Albert Schmier 
Mr. and Mrs. Ernest Schnesel 
Mrs. Dan Schusterman 
Mr. and Mrs. Marvin Seline 
Arlene and Donald Shapiro 
Sheffield Plastics, Inc. 
Hannah and Walter Shmerler 
Marion and Leonard Simon 



Mr. and Mrs. Irving Smokier 
Margery and Lewis Steinberg 
Jerry and Nancy Straus 
Marjorie and Sherwood Sumner 
Mr. and Mrs. George A. Suter, Jr. 
Mr. Aso Tavitian 
TD Banknorth 
Mr. and Mrs. Wilmer J. 

Thomas, Jr. 
Jacqueline and Albert Togut 
Loet and Edith Velmans 
Mrs. Charles H. Watts II 
Karen and Jerry Waxberg 
Mr. and Mrs. Edwin A. 

Weiller III 
Mrs. Anne Westcott 
Wheatleigh Hotel &c Restaurant 
Robert C. Winters 
Mr. and Mrs. Ira Yohalem 
Anonymous (3) 



Alii and Bill Achtmeyer 
Mr. and Mrs. Ronald Altman 
Bonnie and Louis Altshuler 
Lucille Batal 
Arthur Appelstein and Lorraine 

Becker 
Gideon Argov and Alexandra 

Fuchs 
Joseph F. Azrack and Abigail S. 

Congdon 
Helene and Ady Berger 
Jerome and Henrietta Berko 
Berkshire Bank 
Berkshire Life Insurance 

Company of America 
Jane and Raphael Bernstein/ 

Parnassus Foundation 
Ms. Joyce S. Bernstein and 

Mr. Lawrence M. Rosenthal 
Linda and Tom Bielecki 
Hildi and Walter Black 
Eleanor and Ed Bloom 
Birgit and Charles Blyth 
Mr. and Mrs. Nat Bohrer 
Mr. and Mrs. Nicholas Boraski 
Marlene and Dr. Stuart H. 

Brager 
Mr. and Mrs. James H. Brandi 
Jane and Jay Braus 
Marilyn and Arthur Brimberg 
Judy and Simeon Brinberg 
Samuel B. and Deborah D. 

Bruskin 
Mr. and Mrs. Allan Bufferd 
Gregory E. Bulger Foundation 
Cain, Hibbard, Myers & Cook 



MEMBERS $3,000 to $4,999 

Phyllis H. Carey 
David and Maria Carls 
Mary Carswell 
Casablanca 
Iris and Mel Chasen 
Audrey and Jerome Cohen 
Barbara Cohen-Hobbs 
Judith and Stewart Colton 
Linda Benedict Colvin in 

loving memory of her brother, 

Mark Abbott Benedict 
In memory of D.M. Delinferni 
Dr. and Mrs. Harold L. Deutsch 
Chester and Joy Douglass 
Paula and Tom Doyle 
Dresser-Hull Company 
Ms. Judith R. Drucker 
Terry and Mel Drucker 
Mr. Alan Dynner 
Mr. and Mrs. Leonard Edelson 
Mr. and Mrs. Monroe B. England 
Eitan and Malka Evan 
Mr. and Mrs. Carl M. Feinberg 
Mr. & Mrs. Philip Fidler 
Mr. and Mrs. John C. Fontaine 
Mr. and Mrs. David Forer 
Marjorie and Albert Fortinsky 
Ms. Bonnie Fraser 
Rabbi Daniel Freelander and 

Rabbi Elyse Frishman 
Mr. Michael Fried 
Carolyn and Roger Friedlander 
Myra and Raymond Friedman 
Audrey and Ralph Friedner 
David Friedson and Susan Kaplan 
Mr. and Mrs. Robert L. Gable 



Jill and Harold Gaffin 
Agostino and Susan Galluzzo 
Mr. and Mrs. Leslie J. Garfield 
Drs. Ellen Gendler and 

James Salik in memory of 

Dr. Paul Gendler 
Mr. and Mrs. Melvin Y. 

Gershman 
Dr. Anne Gershon 
Stephen A. Gilbert and 

Geraldine R. Staadecker 
David H. Glaser and Deborah F. 

Stone 
Sy and Jane Glaser 
Mr. and Mrs. Andrew Goldfarb 
Mr. and Mrs. Seymour L. 

Goldman 
Judith Goldsmith 
Roslyn K. Goldstein 
Goshen Wine 8c Spirits, Inc. 
Mr. and Mrs. Richard Grausman 
Stacey Nelkin and Marco 

Greenberg in memory of 

Edith B. Greenberg 
Mr. Harold Grinspoon and 

Ms. Diane Troderman 
Carol and Charles Grossman 
Ms. Bobbie Hallig 
Felda and Dena Hardymon 
William Harris and Jeananne 

Hauswald 
Mr. and Mrs. Richard Harte 
Mr. Lee Hemphill and 

Ms. Elsbeth Lindner 
Mr. Gardner C. Hendrie and 

Ms. Karen J. Johansen 



58 




MEMBERS $3,000 to $4,999 (continued) 



Mr. and Mrs. Robert I. Hiller 
Mr. and Mrs. Stuart Hirshfield 
Mr. Arnold J. and Helen G. 

Hoffman 
Charles and Enid Hoffman 
Lila and Richard Holland 
Mrs. Ruth W. Houghton 
Housatonic Curtain Company, 

Inc. 
Mr. Walter B. Jr. and 

Mrs. Nancy Howell 
Lola Jaffe in memory of 

Edwin Jaffe 
Liz and Alan Jaffe 
Mr. and Mrs. Werner Janssen, Jr. 
Mr. and Mrs. Daniel R. Johnson 
Mr. and Mrs. R. Courtney Jones 
Ms. Lauren Joy and Ms. Elyse 

Etling 
Nedra Kalish 
Adrienne and Alan Kane 
Mr. and Mrs. Arnold Y. Kapiloff 
Ms. Cathy Kaplan 
Leonard Kaplan and Marcia 

Simon Kaplan 
Mr. and Mrs. Eric Katzman 
Mr. Chaim and Dr. Shulamit 

Katzman 
Walter Kaye 
Mr.JohnF.Kelley 
Mr. and Mrs. Bruce Kelly 
Mr. and Mrs. George H. Kidder 
Mr. and Mrs. Carleton F. Kilmer 
Deko and Harold Klebanoff 
Dr. and Mrs. Lester Klein 
Mr. Robert E. Koch 
Dr. and Mrs. David Kosowsky 
Mr. and Mrs. Ely Krellenstein 
Mr. and Mrs. Irving Kronenberg 
Mr. and Mrs. Richard Kronenberg 
Naomi Kruvant 
Dr. and Mrs. Stephen Kulvin 
Mildred Loria Langsam 
Mr. and Mrs. William Lehman 
Mr. and Mrs. Marvin Lender 
The Lenox Athenaeum 
David and Lois Lerner Family 

Foundation 
Don and Gini LeSieur 
Mr. Arthur J. Levey and 

Ms. Rocio Gell 
Valerie and Bernard Levy 
Marjorie T. Lieberman 
Geri and Roy Liemer 
Dr. David Lippman and 

Ms. Honey Sharp 
Jane and Roger Loeb 
Gerry and Sheri Lublin 
Diane H. Lupean 
Gloria and Leonard Luria 
Mrs. Edward Lustbader 
I. Kenneth and Barbara Mahler 



Mr. and Mrs. Darryl Mallah 
Rev. Cabell B. Marbury 
Peg and Bob Marcus 
Suzanne and Mort Marvin 
Sydelle and Ed Masterman 
Mr. Daniel Mathieu and 

Mr. Thomas M. Potter 
Mary and James Maxymillian 
Joel Robert Melamed MD in 

memory of Charles Elliot Ziff 
The Messinger Family 
Rebecca and Nathan Milikowsky 
Mr. and Mrs. Michael Monts 
Gloria Narramore Moody 

Foundation 
In memory of Ruth O. Mulbury 

from a grateful nephew 
Mr. and Mrs. Joseph L. Nathan 
Jerry and Mary Nelson 
Linda and Stuart Nelson 
Bobbie and Arthur Newman 
Mr. and Mrs. Gerard O'Halloran 
Dr. and Mrs. Martin S. 

Oppenheim 
Mr. and Mrs. Michael Orlove 
Dr. and Mrs. Simon Parisier 
Wendy Philbrick in memory 

of Edgar Philbrick 
Mr. Peter Philipps 
Plastics Technology 

Laboratories, Inc. 
Mr. and Mrs. Jonathan Poorvu 
Mr. and Mrs. Kenneth Poovey 
Fern Portnoy and Roger 

Goldman 
Mr. and Mrs. Walter Pressey 
Mary Ann and Bruno A. 

Quinson 
Mr. and Mrs. Nathan Reiber 
Bruce Reopolos 
Mr. and Mrs. Stanley Riemer 
Mary and Lee Rivollier 
Fred and Judy Robins 
Ms. Deborah Ronnen and 

Mr. Sherman F. Levey 
Mr. Brian Ross 
Mr. and Mrs. Stanley Ross 
Suzanne and Burton Rubin 
Mr. and Mrs. Milton B. Rubin 
Mr. and Mrs. Michael Salke 
Samuel and Susan Samelson 
Mr. Robert M. Sanders 
Norma and Roger A. Saunders 
Dr. and Mrs. Wynn A. Sayman 
Mr. Gary S. Schieneman and 

Ms. Susan B. Fisher 
Pearl and Alvin Schottenfeld 
Mr. Daniel Schulman and 

Ms. Jennie Kassanoff 
Carol and Marvin Schwartzbard 
Mr. and Mrs. Sheldon Seevak 
Betsey and Mark Selkowitz 



Carol and Richard Seltzer 
Mr. and Mrs. Daniel Shapiro 
Mr. and Mrs. Joel Shapiro 
Natalie and Howard Shawn 
Jackie Sheinberg and Jay 

Morganstern 
The Richard Shields Family 
The Honorable and Mrs. George 

P. Shultz 
The Silman Family 
Richard B. Silverman 
Mr. and Mrs. Robert L. 

Singleton 
Mr. and Mrs. Robert S. Siskin 
Mary Ann and Arthur Siskind 
Jack and Maggie Skenyon 
Mrs. William F. Sondericker 
Harvey and Gabriella Sperry 
Emily and Jerry Spiegel 
Mr. Peter Spiegelman and 

Ms. Alice Wang 
Mrs. Lauren Spitz 
Mr. and Mrs. Charles A. Stakely 
Mr. and Mrs. Lewis Stein 
Mr. and Mrs. Daniel S. Sterling 
Mr. Ronald Stillman 
Mrs. Pat Strawgate 
Roz and Charles Stuzin 
Michael and Elsa Daspin 

Suisman 
Lois and David Swawite 
Mr. and Mrs. Richard Taylor 
Mr. and Mrs. John L. Thorndike 
Mr. and Mrs. Roger Tilles 
Diana O. Tottenham 
Barbara and Gene Trainor 
True North Insurance 

Agency, Inc. 
Myra and Michael Tweedy 
Mr. and Mrs. Howard J. Tytel 
June Ugelow 
Laughran S. Vaber 
Mr. Gordon Van Huizen and 

Ms. Diana Gaston 
Viking Fuel Oil Company 
Mr. and Mrs. William G. Walker 
Mr. and Mrs. Harvey Waller 
Mr. and Mrs. Barry Weiss 
Dr. and Mrs. Jerry Weiss 
Mr. and Mrs. Robert A. Wells 
Tom and Suky Werman 
Carol Andrea Whitcomb 
Carole White 

Peter D. Whitehead, Builder 
Mr. Robert G. Wilmers 
Mr. Jan Winkler and 

Ms. Hermine Drezner 
Richard M. Ziter, M.D. 
Lyonel E. Zunz 
Anonymous (11) 



59 



Tanglewood Major Corporate Sponsors, 2007 Season 

Tanglewood major corporate sponsorship reflects the increasing impor- 
tance of alliance between business and the arts. The BSO is honored to be 
associated with the following companies and gratefully acknowledges their 
partnerships. For information regarding BSO, Boston Pops, and/or 
Tanglewood sponsorship opportunities, contact Alyson Bristol, Director 
of Corporate Sponsorships, at (617) 638-9279 or at abristol@bso.org. 




William Hunt 

President and CEO 



State Street 
Global Advisors 



ii j5l-/V<» 



State Street Global Advisors (SSgA) is proud to sponsor 
Tanglewood, the world's most prestigious summer music 
festival, for its 2007 season. As an investment manager, we 
greatly appreciate the value of bringing people together in 
an environment that inspires creativity and innovation. By 
investing in the "Tanglewood experience," we are delighted 
to help preserve and sustain the combined assets of great 
classical music and nature. 



3B 




Carol Marlow 

President and Managing 
Director 




CUNARD 

THE MOST FAMOUS OCEAN LINERS IN THE WORLD 

Cunard Line, whose fleet comprises The Most Famous Ocean 
Liners in the World SM , Queen Mary 2, QE2, and our newest 
royal, Queen Victoria, comes aboard for the first time as the 
Official Cruise Line of the Boston Symphony Orchestra and 
Boston Pops, and sponsor of the 2007 Tanglewood Jazz Festival. 
During its storied 167-year history, Cunard's renowned ships 
have transported society's luminaries, notables, and famed artists 
around the world in unrivaled style. Sumptuous surroundings 
and the line's legendary White Star Service SM have made 
Cunard the preferred choice of luxury travel for generations. 




60 




Joanne Smith 

Senior Vice President, 
In-flight Services & 
Global Product 
Development 



ADelta 



Delta Air Lines is pleased to support Tanglewood in its second 
season as the Official Airline of the Boston Symphony Orchestra. 
We look forward to an outstanding summer with guest appear- 
ances by today's most celebrated artists from around the world. 
At Delta, we have been a longtime supporter of the Boston and 
New York metropolitan areas, at the airport and beyond. This 
commitment to the BSO builds upon Delta's global support of 
the arts. 




Dawson Rutter 
President and CEO 




OMMONWEALTH WORLDWIDE 

CHAUFFEURED TRANSPORTATION 

Commonwealth Worldwide Chauffeured Transportation 
is proud to be the Official Chauffeured Transportation 
provider of the Boston Symphony Orchestra and the 
Boston Pops. The BSO has enhanced the Boston commu- 
nity for 125 years and we are excited to be a part of such 
rich heritage. We look forward to celebrating our relation- 
ship with the BSO, Boston Pops, and Tanglewood for 
many years to come. 




Bruce Stevens 

President 



S T E I N W A Y 



SONS 



Steinway 6c Sons is proud to be the piano selected exclusively at 
Symphony Hall and Tanglewood. Since 1853, Steinway pianos 
have been handmade to an uncompromising standard, and 
applauded by artists and audiences alike for their rich, expres- 
sive sound. It's no wonder that, for 98% of today's concert pianists, 
the choice is Steinway. 




61 



FOUNDATIONS 

The Boston Symphony Orchestra gratefully acknowledges those foundations 
whose contributions are vital to sustaining and extending our mission. In addi- 
tion to supporting the BSO's core performance activities, foundation participa- 
tion is critical in funding youth education and community outreach initiatives 
and professional training for promising young musicians at the Tanglewood 
Music Center. Endowment and capital grants from foundations also help ensure 
the future of all these activities and maintain the orchestra's concert facilities and 
physical plant. For more information, contact Ryan Losey, Associate Director for 
Foundation and Government Relations, at (617) 638-9462. 

The following foundations made grants of $1,000 or more to the BSO between 
June 1, 2006 and May 31, 2007. 



$1,000,000 and Above 

The Wallace Foundation 



$100,000 -$999,999 

Chiles Foundation 
Fromm Music Foundation 



Miriam Shaw Fund 
Anonymous 



$50,000 - $99,999 

The Ann and Gordon Getty Foundation 
Grew Family Charitable Foundation 
The Geoffrey C. Hughes Foundation 



Linde Family Foundation 
MetLife Foundation 
Yawkey Foundation II 



$25,000 - $49,999 

The Aaron Copland Fund for Music, Inc. 

The ASCAP Foundation 

The Grammy Foundation 

Halfway Rock Foundation 

Kingsbury Road Charitable Foundation 

The Lowell Institute 

Newman's Own Foundation 



The William E. and 

Bertha E. Schrafft Charitable Trust 
The Richard and Susan Smith Family 

Foundation 
State Street Foundation, Inc. 
Stratford Foundation 
Edwin S. Webster Foundation 



Continued on next page 




62 




$10,000- $24,999 

ARSC Foundation 

Associated Grantmakers of Massachusetts 

Argosy Foundation 

Clipper Ship Foundation, Inc. 

Alice Willard Dorr Foundation 

Elizabeth Taylor Fessenden Foundation 

Germeshausen Foundation 

The Roger and Myrna Landay Foundation 

June Rockwell Levy Foundation, Inc. 

The E. Nakamichi Foundation 



Thomas A. Pappas Charitable 

Foundation 
Alice Ward Fund of the The Rhode 

Island Foundation 
The Billy Rose Foundation, Inc. 
Saquish Foundation 
Abbot and Dorothy H. Stevens 

Foundation 
Anonymous 



$5,000 - $9,9999 

The Arts Federation 

Irene E. and George A. Davis Foundation 

Demoulas Foundation 

The Roy A. Hunt Foundation 



Abraham Perlman Foundation / 

Dr. Deanna Spielberg 
Olive Higgins Prouty Foundation 
Albert Shapiro Fund, Inc. 



$2,500 - $4,999 

Adelaide Breed Bayrd Foundation 
Brookline Youth Concerts Fund 
Cambridge Community Foundation 
Helen G. Hauben Foundation 
Jackson and Irene Golden 1989 

Charitable Trust 
Elizabeth Grant Fund 



Elizabeth Grant Trust 
The Clayton F. and Ruth L. 

Hawkridge Foundation 
The Hoche-Scofield Foundation 
The Seth Sprague Educational and 

Charitable Foundation 
Anonymous 



$1,000 $2,499 

The American Scandanavian Foundation 
The Apple Lane Foundation 
The Paul and Edith Babson Foundation 
Frank M. Barnard Foundation, Inc. 
Carlisle Foundation 

Orville W. Forte Charitable Foundation 
The Nancy Foss Heath and 
Richard B. Heath Foundation 



The Ted 6c Ruth Johnson Family 

Foundation 
Jean Nichols Charitable Trust 
Oxford Fund, Inc. 
The Stearns Charitable Trust 
Edward A. Taft Trust 




63 




GREAT BENEFACTORS 

In the building of his new symphony for Boston, the BSO's founder and first benefactor, Henry 
Lee Higginson, knew that ticket revenues could never fully cover the costs of running a great 
orchestra. From 1881 to 1918 Higginson covered the orchestra's annual deficits with personal 
donations that exceeded $1 million. The Boston Symphony Orchestra now honors each of the 
following generous donors whose cumulative giving to the BSO is $1 million or more with 
permanent recognition as Great Benefactors of this great orchestra.* For more information, 
please contact Peter Minichiello, Director of Development, at 617-638-9260. 



Mr. and Mrs. Harlan E. Anderson 

Dorothy and David B. Arnold, Jr. 

AT&T 

Bank of America 

Mr. and Mrs. J.P. Barger 

Mr. and Mrs. George D. Behrakis 

Gabriella and Leo Beranek 

George and Roberta Berry 

Jan Brett and Joseph Hearne 

Peter and Anne Brooke 

Catherine and Paul Buttenwieser 

Eleanor L. Campbell and 

Levin H. Campbell 
Chiles Foundation 
Mr. John F. Cogan, Jr. and 

Ms. Mary L. Cornille 
Mr. Julian Cohen 
Commonwealth of Massachusetts 
Mr. and Mrs. William H. Congleton 
Country Curtains 
John and Diddy Cullinane 
Lewis S. and Edith L. Dabney 
Mr. and Mrs. Stanton W. Davis 
Estate of Mrs. Pierre de Beaumont 
Estate of Elizabeth B. Ely 
EMC Corporation 
John P. II and Nancy S. Eustis 
The Fairmont Copley Plaza and 

Fairmont Hotels 6c Resorts 
Shirley and Richard Fennell 
Fidelity Investments 
Estate of Verna Fine 
Estate of Anna E. Finnerty 
Mr. and Mrs. John H. Fitzpatrick 
Germeshausen Foundation 
The Ann and Gordon Getty Foundation 
Estate of Marie L. Gillet 
The Gillette Company 
Sophia and Bernard Gordon 
Mrs. Donald C. Heath 
Estate of Francis Lee Higginson 
Susan Morse Hilles Trust 
Estate of Edith C. Howie 
John Hancock Financial Services 



Estate of Richard L. Kaye 
George H. Kidder 
Harvey Chet and Farla Krentzman 
The Kresge Foundation 
Liz and George Krupp 
Bill and Barbara Leith 
Liberty Mutual Foundation, Inc. 
Joyce and Edward Linde 
Estates of John D. and Vera M. MacDonald 
Nancy Lurie Marks Foundation 
Kate and Al Merck 
Mr. and Mrs. Nathan R. Miller 
Richard P. and Claire W. Morse Foundation 
William Inglis Morse Trust 
National Endowment for the Arts 
NEC Corporation 
Mrs. Robert B. Newman 
Mrs. Mischa Nieland and 
Dr. Michael L. Nieland 
Megan and Robert O'Block 
Mr. and Mrs. Norio Ohga 
William and Lia Poorvu 
Carol and Joe Reich 
Susan and Dan Rothenberg 
Estate of Wilhelmina C. Sandwen 
Dr. Raymond and Hannah H. Schneider 
Carl Schoenhof Family 
Kristin and Roger Servison 
Ruth and Carl J. Shapiro 
Miriam Shaw Fund 
Ray and Maria Stata 
Thomas G. Sternberg 
Miriam and Sidney Stoneman 
Estate of Elizabeth B. Storer 
Diana O. Tottenham 
The Wallace Foundation 
Stephen and Dorothy Weber 
Roberta and Stephen R. Weiner 
The Helen F. Whitaker Fund 
Mr. and Mrs. John Williams 
Estate of Helen Zimbler 
Anonymous (11) 

* Listed as of June 1, 2007 



64 







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James Levine, Music Director 
Bernard Haitink, Conductor Emeritus 
Seiji Ozawa, Music Director Laureate 
126th Season, 2006-2007 



Trustees of the Boston Symphony Orchestra, Inc. 

Edward H. Linde, Chairman 

John F. Cogan, Jr., Vice-Chairman Robert P. O'Block, Vice-Chairman 

Diddy Cullinane, Vice-Chairman Roger T. Servison, Vice-Chairman 

Edmund Kelly, Vice-Chairman Vincent M. O'Reilly, Treasurer 



George D. Behrakis 
Gabriella Beranek 
Mark G. Borden 
Alan Bressler 
Jan Brett 

Samuel B. Bruskin 
Paul Buttenwieser 
Eric D. Collins 

Life Trustees 

Harlan E. Anderson 
Vernon R. Alden 
David B. Arnold, Jr. 
J.P. Barger 
Leo L. Beranek 
Deborah Davis Berman 
Peter A. Brooke 
Helene R. Cahners 



Cynthia Curme 
William R. Elfers 
Nancy J. Fitzpatrick 
Charles K. Gifford 
Thelma E. Goldberg 
Stephen Kay 
George Krupp 
Shari Loessberg, ex-officit 

James F. Cleary 
Abram T. Collier 
Mrs. Edith L. Dabney 
Nelson J. Darling, Jr. 
Nina L. Doggett 
Mrs. John H. Fitzpatrick 
Dean W. Freed 



Robert J. Mayer, M.D. 
Nathan R. Miller 
Richard P. Morse 
Ann M. Philbin, 

ex-ojfcio 
Carol Reich 
Edward I. Rudman 
Hannah H. Schneider 



Avram J. Goldberg 
Edna S. Kalman 
George H. Kidder 
R. Willis Leith, Jr. 
Mrs. August R. Meyer 
Mrs. Robert B. Newman 
William J. Poorvu 



Arthur I. Segel 
Thomas G. Sternberg 
Wilmer J. Thomas, Jr. 
Stephen R. Weber 
Stephen R. Weiner 
Robert C. Winters 



Irving W. Rabb 
Peter C. Read 
Richard A. Smith 
Ray Stata 

John Hoyt Stookey 
John L. Thorndike 
Dr. Nicholas T. Zervas 



Other Officers of the Corporation 

Mark Volpe, Managing Director 
Suzanne Page, Clerk of the Board 

Board of Overseers of the Boston Symphony Orchestra, Inc 

Shari Loessberg, Chairman 

William F. Achtmeyer Pamela D. Everhart 



Thomas D. May, Chief Financial Officer 



Diane M. Austin 
Lucille M. Batal 
Maureen Scannell 

Bateman 
Linda J.L. Becker 
George W. Berry 
James L. Bildner 
Bradley Bloom 
Anne F. Brooke 
Gregory E. Bulger 
William Burgin 
Ronald G. Casty 
Rena F. Clark 
Carol Feinberg Cohen 
Mrs. James C. Collias 
Charles L. Cooney 
Ranny Cooper 
James C. Curvey 
Tamara P. Davis 
Mrs. Miguel de 

Braganca 
Disque Deane 
Paul F. Deninger 
Ronald M. Druker 
Alan J. Dworsky 
Alan Dynner 
Ursula Ehret-Dichter 
John P. Eustis II 



Joseph F. Fallon 
Thomas E. Faust, Jr. 
Judith Moss Feingold 
Steven S. Fischman 
John F. Fish 
Lawrence K. Fish 
Myrna H. Freedman 
Carol Fulp 
Dr. Arthur Gelb 
Stephanie Gertz 
Robert P. Gittens 
Michael Gordon 
Paula Groves 
Michael Halperson 
Carol Henderson 
Brent L. Henry 
Susan Hockfield 
Osbert M. Hood 
Roger Hunt 
William W.Hunt 
Ernest Jacquet 
Everett L. Jassy 
Charles H. Jenkins, Jr. 
Darlene Luccio 

Jordan, Esq. 
Paul L. Joskow 
Stephen R. Karp 
Brian Keane 



Douglas A. Kingsley 
Robert Kleinberg 
Farla H. Krentzman 
Peter E. Lacaillade 
Renee Landers 
Robert J. Lepofsky 
Christopher J. Lindop 
John M. Loder 
Edwin N. London 
Jay Marks 
Jeffrey E. Marshall 
Carmine Martignetti 
Joseph B. Martin, M.D. 
Thomas McCann 
Joseph C. McNay 
Albert Merck 
Dr. Martin C. Mihm, Jr. 
Robert Mnookin 
Paul M. Montrone 
Robert J. Morrissey 
Evelyn Stefansson Nef 
Robert T O'Connell 
Susan W. Paine 
Joseph Patton 
Ann M. Philbin 
May H. Pierce 
Claudio Pincus 
Joyce L. Plotkin 
Dr. John Thomas Potts, Jr. 



Dr. Tina Young Poussaint 
James D. Price 
Claire Pryor 
Patrick J. Purcell 
John Reed 
Donna M. Riccardi 
Susan Rothenberg 
Alan Rottenberg 
Joseph D. Roxe 
Kenan Sahin 
Ross E. Sherbrooke 
Gilda Slifka 
Christopher Smallhorn 
John C. Smith 
Charles A. Stakely 
Patricia L. Tambone 
Samuel Thome 
Albert Togut 

Diana Osgood Tottenham 
Joseph M. Tucci 
Paul M. Verrochi 
Robert S. Weil 
David C. Weinstein 
James Westra 
Mrs. Joan D. Wheeler 
Richard Wurtman, M.D. 
Dr. Michael Zinner 
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Overseers Emeriti 

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Marjorie Arons-Barron 
Caroline D wight Bain 
Sandra Bakalar 
Mrs. Levin H. 

Campbell 
Earle M. Chiles 
Joan P. Curhan 
Phyllis Curtin 
Betsy P. Demirjian 
JoAnne Walton 

Dickinson 
Phyllis Dohanian 
Goetz B. Eaton 
Harriett Eckstein 
George Elvin 
J. Richard Fennell 



Peter H.B. Frelinghuysen 
Mrs. Thomas 

Galligan, Jr. 
Mrs. James Garivaltis 
Jordan Golding 
Mark R. Goldweitz 
John Hamill 
Deborah M. Hauser 
Mrs. Richard D. Hill 
Marilyn Brachman 

Hoffman 
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Michael Joyce 
Martin S. Kaplan 
Mrs. S. Charles Kasdon 
Mrs. Gordon F. Kingsley 



David I. Kosowsky 
Robert K. Kraft 
Benjamin H. Lacy 
Mrs. William D. Larkin 
Hart D. Leavitt 
Frederick H. Lovejoy, Jr. 
Diane H. Lupean 
Mrs. Charles P. Lyman 
Mrs. Harry L. Marks 
Barbara Maze 
John A. Perkins 
Daphne Brooks Prout 
Robert E. Remis 
Mrs. Peter van S. Rice 
John Ex Rodgers 
Mrs. Jerome Rosenfeld 



Roger A. Saunders 
Lynda Anne Schubert 
Mrs. Carl Shapiro 
L. Scott Singleton 
Mrs. Micho Spring 
Patricia Hansen 

Strang 
Robert A. Wells 
Mrs. Thomas H. P. 

Whitney 
Margaret Williams- 

DeCelles 
Mrs. Donald B. 

Wilson 
Mrs. John J. Wilson 



Officers of the Boston Symphony Association of Volunteers 



Ann M. Philbin, President 
Richard Dixon, Executive 

Vice-President/Adm in istration 
Howard Cutler, Executive 

Vice-President/Fundraising 



William S. Ballen, Executive 
Vice-President/Tanglewood 
Sybil Williams, Secretary 
Gerald Dreher, Treasurer 
Leah Weisse, Nominating Chair 



Programs copyright ©2007 Boston Symphony Orchestra, Inc. 

Cover design by Sametz Blackstone Associates 

Cover photo by Stu Rosner 





FOR RESERVATIONS CALL: 413.298.5545 

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Administration 

Mark Volpe, Managing Director 

Eunice and Julian Cohen Managing Directorship, fully funded in perpetuity 



Anthony Fogg, Artistic Administrator 
Marion Gardner- S axe, Director of Human Resources 
Ellen Highstein, Director oj 'Tanglewood Music Center 
Tangle-wood Music Center Directorship, 
endowed in honor of Edward H. Linde 
by Alan S. Bressler and Edward I. Rudman 
Bernadette M. Horgan, Director of Media Relations 
Thomas D. May, Chief Financial Officer 



Peter Minichiello, Director of Development 
Kim Noltemy, Director of Sales, Marketing, 

and Communications 
Caroline Taylor, Senior Advisor to the 

Managing Director 
Ray F. Wellbaum, Orchestra Manager 



ADMINISTRATIVE STAFF/ARTISTIC 

Bridget P. Carr, Senior Archivist-Position endowed by Caroline Dwight Bain • Vincenzo Natale, Chauffeur/ 
Valet' Suzanne Page, Assistant to the Managing Director/Manager of Board Administration • Benjamin 
Schwartz, Assistant to the Artistic Administrator 

ADMINISTRATIVE STAFF/PRODUCTION 

Christopher W. Ruigomez, Director of Concert Operations 

Meryl Atlas, Assistant Chorus Manager • Amy Boyd, Orchestra Personnel Administrator • Felicia A. Burrey, 
Chorus Manager • H.R. Costa, Technical Supervisor • Keith Elder, Production and Touring Manager • 
Jake Moerschel, Assistant Stage Manager • Leah Monder, Operations Manager • John Morin, Stage Technician • 
Mark C. Rawson, Stage Technician • Leslie D. Scott, Concert Operations Coordinator 

BOSTON POPS 

Dennis Alves, Director of Artistic Planning 

Sheri Goldstein, Personal Assistant to the Conductor • Margo Saulnier, Assistant Director of 'Artistic Planning 

BUSINESS OFFICE 

Sarah J. Harrington, Director of Planning and Budgeting 

Joseph Senna, Director of Investments 

Pam Wells, Controller 

Michelle Green, Executive Assistant to the Chief Financial Officer • Karen Guy, Accounts Payable Supervisor • 

Minnie Kwon, Payroll Assistant * John O'Callaghan, Payroll Supervisor • Mary Park, Budget Analyst • 

Nia Patterson, Accounts Payable Assistant • Harriet Prout, Accounting Manager • Theany Uy, Staff Accountant • 

Teresa Wang, Staff Accountant • Audrey Wood, Senior Investment Accountant 

DEVELOPMENT 

Alexandra Fuchs, Director of Annual Funds ♦ Nina Jung, Director of Development Events and Volunteer Outreach ♦ 
Bart Reidy, Director of Development Communications ♦ Mia SchultZ, Director of Development Administration 
Stephanie Baker, Major and Planned Giving Coordinator • Cullen Bouvier, Executive Assistant to the Director of 
Development • Diane Cataudella, Associate Director of Stewardship for Donor Relations • Kerri Cleghorn, Associ- 
ate Director, BSO Business Partners • Marcy Bouley Eckel, Annual Funds Membership Manager • Joseph Gaken, 
Associate Director of Stewardship for Donor Recognition • Kara Gavagan, Development Special Events Coordinator • 
Emily Gonzalez, Donor Information and Data Coordinator • David Grant, Manager of Gift Processing and Donor 
Records • Laura Hahn, Annual Fund Projects Coordinator • Barbara Hanson, Manager, Koussevitzky Society • 
Emily Horsford, Assistant Manager of Friends Membership • Andrea Katz, Coordinator of Special Events • 
Nicole Leonard, Manager of Planned Giving • Ryan Losey, Associate Director of Foundation and Government 
Relations • Pamela McCarthy, Manager of Prospect Research • Jennifer Raymond, Associate Director, Friends 
Membership • Yong-Hee Silver, Manager, Higginson and Fiedler Societies • Kenny Smith, Acknowledgment 
and Gift Processing Coordinator • Mary E. Thomson, Associate Director of Development Corporate Events • 
Laura Wexler, Assistant Manager of Development Communications 

EDUCATION AND COMMUNITY PROGRAMS 

Myran Parker-Brass, Director of Education and Community Programs 

Claire Carr, Coordinator of Education and Community Programs • Gabriel Cobas, Manager of Education Programs • 
Emilio Gonzalez, Coordinator of Curriculum Research and Development • Darlene White, Manager, Berkshire 
Education and Community Programs 




ART/MUSIC/FILM 
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GALLERIES OPEN 11-5, CLOSED TUESDAY 
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EVENT SERVICES 

Cheryl Silvia Lopes, Director of Event Services - 

Tony Bennett, Cafe' Supervisor • Sean Lewis, Assistant to the Director of Event Services • Cesar Lima, Steward • 

Shana MetZger, Special Events Saks Manager • Kyle Ronayne, Food and Beverage Manager • James Sorrentino, 

Bar Manager 

FACILITIES 

Mark Cataudella, Director of Facilities 

Tanglewood David P. Sturma, Director of 'Tanglewood Facilities and BSO Liaison to the Berkshires 

Ronald T. Brouker, Supervisor of Tanglewood Crew • Robert Lahart, Electrician • Peter Socha, Head Carpenter 

Tanglewood Facilities Staff Robert Casey • Steve Curley • Rich Drumm • Bruce Huber 

HUMAN RESOURCES 

Kathleen Sambuco, Benefits Manager ♦ Mary Pitino, Human Resources Manager 
Susan Olson, Human Resources Recruiter 

INFORMATION TECHNOLOGY 

David W. Woodall, Director of Information Technology 

Guy W. Brandenstein, User Support Specialist • Andrew Cordero, Manager of User Support • Timothy 

James, Applications Support Specialist • Brian Van Sickle, User Support Specialist 

PUBLIC RELATIONS 

Kathleen Drohan, Associate Director of Media Relations • Marni Glovinsky, Media Relations Coordinator • 
Joseph Heitz, Senior Media Relations Associate • Whitney Riepe, Media Relations Associate 

PUBLICATIONS 

Marc Mandel, Director of Program Publications 

Robert Kirzinger, Publications Associate • Eleanor Hayes McGourty, Publications Coordinator/Boston Pops 

Program Editor 

SALES, SUBSCRIPTION, AND MARKETING 

Amy Aldrich, Manager, Subscription Office ♦ Helen N.H. Brady, Director of Group Sales ♦ Alyson Bristol, 
Director of Corporate Sponsorships ♦ Sid Guidicianne, Front of House Manager ♦ James Jackson, Call Center 
Manager ♦ Roberta Kennedy, Buyer for Symphony Hall and Tanglewood ♦ Sarah L. Manoog, Director of Marketing 
Programs ♦ Michael Miller, SymphonyCharge Manager 

Duane Beller, SymphonyCharge Representative • Gretchen Borzi, Marketing Production Manager • Rich Bradway, 
Associate Director of E-Commerce and New Media • Lenore Camassar, SymphonyCharge Assistant Manager • 
Theresa ConditO, SymphonyCharge Representative • John Dorgan, Group Sales Coordinator • Paul Ginocchio, 
Manager, Symphony Shop and Tanglewood Glass House • Erin Glennon, Graphic Designer • Julie Green, Subscription 
Representative • Susan Elisabeth Hopkins, Senior Graphic Designer • Aaron Kakos, Subscription Representative • 
Michele Lubowsky, Assistant Subscription Manager • Jason Lyon, Group Sales Manager • Dominic Margaglione, 
Senior Subscription Associate • Ronnie McKinley, Ticket Exchange Coordinator • Maria McNeil, SymphonyCharge 
Representative • Michael Moore, E-Commerce Marketing Analyst • Clint Reeves, Graphic Designer • Doreen Reis, 
Marketing Coordinator for Advertising • Andrew Russell, Manager, Major Corporate Sponsor Relations • Robert 
Sistare, SymphonyCharge Representative • Megan E. Sullivan, Senior Subscription Associate 

Box Office Russell M. Hodsdon, Manager • David Winn, Assistant Manager 

Box Office Representatives Mary J. Broussard • Cary Eyges • Mark Linehan • Arthur Ryan 

TANGLEWOOD MUSIC CENTER 

Rachel Cipro tti, Coordinator • Karen Leopardi, Associate Director for Faculty and Guest Artists • Michael Nock, 

Associate Director for Student Affairs • Gary Wallen, Manager of Production and Scheduling 

TANGLEWOOD SUMMER MANAGEMENT STAFF 

Thomas Cinella, Business Office Manager • Peter Grimm, Seranak House Manager • David Harding, 
TMC Concerts Front of House Manager • Randie Harmon, Front of House Manager • Marcia Jones, Manager 
of Visitor Center 

VOLUNTEER OFFICE 

Nina Jung, Director of Development Events and Volunteer Outreach 

Kris DeGraw Danna, Associate Director of 'Volunteers • Sabine Chouljian, Assistant Manager for Volunteer Services 




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Main Gate: 

Monday -Thursday, ioam-4pm 
Friday, 10am - 30 minutes post concert 
Saturday, 9am - 30 minutes post concert 
Sunday, noon -6pm 



Highwood Gate: 

Performance Hours 




TANGLEWOOD 



The Tanglewood Festival 

In August 1934 a group of music-loving summer residents of the Berkshires organized a 
series of three outdoor concerts at Interlaken, to be given by members of the New York 
Philharmonic under the direction of Henry Hadley. The venture was so successful that the 
promoters incorporated the Berkshire Symphonic Festival and repeated the experiment during 
the next summer. 

The Festival Committee then invited Serge Koussevitzky and the Boston Symphony 
Orchestra to take part in the following year's concerts. The orchestra's Trustees accepted, 
and on August 13, 1936, the Boston Symphony Orchestra gave its first concerts in the 
Berkshires (at Holmwood, a former Vanderbilt estate, later the Center at Foxhollow). The 
series again consisted of three concerts and was given under a large tent, drawing a total of 
nearly 15,000 people. 

In the winter of 1936 Mrs. Gorham Brooks and Miss Mary Aspinwall Tappan offered 
Tanglewood, the Tappan family estate, with its buildings and 210 acres of lawns and mead- 
ows, as a gift to Koussevitzky and the orchestra. The offer was gratefully accepted, and on 
August 5, 1937, the festival's largest crowd to that time assembled under a tent for the first 
Tanglewood concert, an all-Beethoven program. 

At the all-Wagner concert that opened the 1937 festival's second weekend, rain and 
thunder twice interrupted the Rienzi Overture and necessitated the omission altogether of 
the "Forest Murmurs" from Siegfried, music too delicate to be heard through the downpour. 
At the intermission, Miss Gertrude Robinson Smith, one of the festival's founders, made an 
appeal to raise funds for the building of a permanent structure. The appeal was broadened 
by means of a printed circular handed out at the two remaining concerts, and within a short 
time enough money had been raised to begin active planning for a "music pavilion." 

Eliel Saarinen, the eminent architect selected by Koussevitzky, proposed an elaborate 
design that went far beyond the immediate needs of the festival and, more important, went 
well beyond the budget of $100,000. His second, simplified plans were still too expensive; he 
finally wrote that if the Trustees insisted on remaining within their budget, they would have 
"just a shed, ...which any builder could accomplish without the aid of an architect." The 
Trustees then turned to Stockbridge engineer Joseph Franz to make further simplifications 

in Saarinen's plans in 
order to lower the cost. 
The building he erected 
was inaugurated on the 
evening of August 4, 
1938, when the first 
concert of that year's 
festival was given, and 
remains, with modifica- 
tions, to this day. It has 
echoed with the music 
of the Boston Sym- 
phony Orchestra every 
After the storm of August 12, 1937, which precipitated a fundraising summer since, except 

drive for the construction of the Tanglewood Shed f or the war years 1942- 

45, and has become almost a place of pilgrimage to millions of concertgoers. In 1959, as the 
result of a collaboration between the acoustical consultant Bolt Beranek and Newman and 
architect Eero Saarinen and Associates, the installation of the then-unique Edmund Hawes 
Talbot Orchestra Canopy, along with other improvements, produced the Shed's present 



















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world-famous acoustics. In 1988, on the occasion of its fiftieth anniversary, the Shed was 
rededicated as "The Serge Koussevitzky Music Shed," recognizing the far-reaching vision of 
the BSO's legendary music director. 

In 1940, the Berkshire Music Center (now the Tanglewood Music Center) began its 
operations. By 1941 the Theatre-Concert Hall, the Chamber Music Hall, and several small 
studios were finished, and the festival had so expanded its activities and its reputation for ex- 
cellence that it attracted nearly 100,000 visitors. 

With the Boston Symphony Orchestra's acquisition in 1986 of the Highwood estate 
adjacent to Tanglewood, the stage was set for the expansion of Tanglewood's public grounds 
by some 40%. A master plan developed by the Cambridge firm of Carr, Lynch, Hack and 
Sandell to unite the Tanglewood and Highwood properties confirmed the feasibility of 
using the newly acquired property as the site for a new concert hall to replace the outmod- 
ed Theatre-Concert Hall (which was used continuously with only minor modifications 
since 1941, and which with some modification has been used in recent years for the Tangle- 
wood Music Center's opera productions), and for improved Tanglewood Music Center 
facilities. Inaugurated on July 7, 1994, Seiji Ozawa Hall — designed by the architectural firm 
William Rawn Associates of Boston in collaboration with acoustician R. Lawrence Kirke- 
gaard 6c Associates of Downer's Grove, Illinois, and representing the first new concert facil- 
ity to be constructed at Tanglewood in more than a half-century — now provides a modern 
venue for TMC concerts, and for the varied recital and chamber music concerts offered by 
the Boston Symphony Orchestra throughout the summer. Ozawa Hall with its attendant 
buildings also serves as the focal point of the Tanglewood Music Center's Leonard Bernstein 
Campus, as described below. Also at Tanglewood each summer, the Boston University 
Tanglewood Institute sponsors a variety of programs that offer individual and ensemble 
instruction to talented younger students, mostly of high school age. 



A "Special Focus" Exhibit at the Tanglewood Visitor Center 
The Festival of Contemporary Music at Tanglewood: A Photographic Retrospective 

, Since 1964, the Tanglewood Music Center has organ- 
ized an intensive five-day festival — the TMC's annual 
~ Festival of Contemporary Music (FCM) — dedicated 
to the work of both established and up-and-coming 
contemporary composers. This summer's "special focus" 
exhibit traces the origins of FCM in the mid-1950s 
through its formal establishment in 1964 (under the 
leadership of Erich Leinsdorf and Gunther Schuller 
in conjunction with the Fromm Music Foundation) 
and into the late 1980s. Drawing primarily on the 
BSO Archives' extensive collection of Tanglewood 
photographs, the exhibit documents the musicians and 
composers who have played an active role in the Festival's continued artistic success, including 
Theodore Antoniou, Elliott Carter, Aaron Copland, John Harbison, Oliver Knussen, Bruno 
Maderna, Gunther Schuller, and Charles Wuorinen, to name just a few. In the photo above, 
Paul Fromm, Aaron Copland, Lukas Foss, and Gunther Schuller discuss contemporary music 
activities at Tanglewood, c.1963. 

Preserving FCM in Sound: In the summer of 2006, the BSO Archives was awarded a grant 
from the Association for Recorded Sound Collection (ARSC) to preserve a collection of forty- 
nine FCM programs recorded on reel-to-reel tape between 1969 and 1981. At the completion 
of this project, performances of works by Milton Babbitt, Arthur Berger, Pierre Boulez, Elliott 
Carter, John Harbison, Olivier Messiaen, Gunther Schuller, and Charles Wuorinen, among 
others, will be available to researchers in the BSO Archives. 





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Today Tanglewood annually draws more than 300,000 visitors. Besides the concerts of 
the Boston Symphony Orchestra, there are weekly chamber music concerts, Friday-evening 
Prelude Concerts, Saturday- morning Open Rehearsals, the annual Festival of Contempo- 
rary Music, and almost daily concerts by the gifted young musicians of the Tanglewood 
Music Center. The Boston Pops Orchestra appears annually, and the season closes with a 
weekend-long Jazz Festival. The season offers not only a vast quantity of music but also a 
vast range of musical forms and styles, all of it presented with a regard for artistic excellence 
that makes the festival unique. 

The Tanglewood Music Center 

Since its start as the Berkshire Music Center in 1940, the Tanglewood Music Center has 
become one of the world's most influential centers for advanced musical study. Serge Kous- 
sevitzky, the Boston Symphony Orchestra's music director from 1924 to 1949, founded the 
Center with the intention of creating a premier music academy where, with the resources of 
a great symphony orchestra at their disposal, young instrumentalists, vocalists, conductors, 
and composers would sharpen their skills under the tutelage of Boston Symphony Orchestra 
musicians and other specially invited artists. 

The Music Center opened formally on July 8, 1940, with speeches and music. "If ever 
there was a time to speak of music, it is now in the New World," said Koussevitzky, alluding 
to the war then raging in Europe. "So long as art and culture exist there is hope for humanity." 
Randall Thompson's Alleluia for unaccompanied chorus, specially written for the ceremony, 
arrived less than an hour before the event began but made such an impression that it con- 
tinues to be performed at the opening ceremonies each summer. The TMC was Kousse- 
vitzky s pride and joy for the rest of his life. He assembled an extraordinary faculty in com- 
position, operatic and choral activities, and instrumental performance; he himself taught the 
most gifted conductors. 

Koussevitzky continued to develop the Tanglewood Music Center until 1950, a year 
after his retirement as the BSO's music director. Charles Munch, his successor in that posi- 
tion, ran the Tanglewood Music Center from 1951 through 1962, working with Leonard 
Bernstein and Aaron Copland to shape the school's programs. In 1963, new BSO Music 
Director Erich Leinsdorf took over the school's reins, returning to Koussevitzky 's hands-on 
leadership approach while restoring a renewed emphasis on contemporary music. In 1970, 
three years before his appointment as BSO music director, Seiji Ozawa became head of the 
BSO's programs at Tanglewood, with Gunther Schuller leading the TMC and Leonard 
Bernstein as general advisor. Leon Fleisher served as the TMC's Artistic Director from 1985 
to 1997. In 1994, with the opening of Seiji Ozawa Hall, the TMC centralized its activities 
on the Leonard Bernstein Campus, which also includes the Aaron Copland Library, cham- 
ber music studios, administrative offices, and the Leonard Bernstein Performers Pavilion 
adjacent to Ozawa Hall. Ellen Highstein was appointed Director of the Tanglewood Music 
Center in 1997. 

The 150 young performers and composers in the TMC's Fellowship Program — advanced 
musicians who generally have completed all or most of their formal training — participate in 
an intensive program including chamber and orchestral music, opera, and art song, with a 
strong emphasis on music of the twentieth and twenty- first centuries. All participants 
receive full fellowships that underwrite tuition, room, and board. TMC Orchestra highlights 
this summer include a concert performance in the Koussevitzky Music Shed of Verdi's Don 
Carlo conducted by James Levine with a guest cast of internationally renowned singers; a 
TMCO concert led by Stefan Asbury in Ozawa Hall, and Beethoven's Ninth Symphony 
led by Rafael Friihbeck de Burgos in the Shed — the latter representing Tanglewood's tradi- 
tional season-ending performance of that work. The season also includes a fully staged 



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June 24 -September 16 

Williamstown, MA 413 458 2303 clarkart.edu 

Lead sponsorship of this exhibition is provided by 
Bank of America L 



This exhibition has been organized by the Sterling and Francine Clark Art Institute, 
Williamstown. Massachusetts, in association with the Royal Academy of Ms, London. 



TMC production of Mozart's Cost fan tutte conducted by James Levine (August 11-14 in 
the Theatre) and a third collaboration between the TMC Vocal Program and Keith Lockhart 
and the Boston Pops Orchestra — a concert performance of Rodgers & Hammerstein's clas- 
sic musical Carousel (July 10 in the Shed). The TMC season opens with a residency by the 
Mark Morris Dance Group, culminating in two performances by the company (June 28 
and 29) of Mark Morris's choreography to Purcell's Dido and Aeneas, conducted by Stefan 
Asbury and featuring TMC singers and instrumentalists. All TMC Fellows participate in 
the TMC's ongoing chamber music programs in Ozawa Hall (Sunday mornings at 10 a.m., 
and on Saturdays at 6 p.m. prior to BSO concerts). The 2007 Festival of Contemporary 
Music — a five-day celebration of the music of our time — will be directed by John Harbison, 
and will focus on "The Generation of '38," highlighting the remarkable quality and diversity 
of music written by composers born in or near that year. The Fromm Concert at Tanglewood, 
the penultimate event of the Festival, will feature the Julius Hemphill Sextet and improvi- 
sations with Musica Elettronica Viva. The start of the TMC season again includes an 
intensive string quartet seminar; and a highlight of the Composition Program is the now 
regular collaboration with Shakespeare & Company on writing incidental music for the 
theater — this season a condensed version of Macbeth, featuring Tina Packer and actors 
from the company, on stage with TMC musicians in Ozawa Hall as part of Tanglewood on 
Parade on August 15. 

It would be impossible to list all of the distinguished musicians who have studied at the 
Tanglewood Music Center. According to recent estimates, 20% of the members of American 
symphony orchestras, and 30% of all first-chair players, studied at the TMC. Besides Seiji 
Ozawa, prominent alumni of the Tanglewood Music Center include Claudio Abbado, Luciano 
Berio, the late Leonard Bernstein, Stephanie Blythe, David Del Tredici, Christoph von 
Dohnanyi, the late Jacob Druckman, Lukas Foss, John Harbison, Gilbert Kalish (who head- 
ed the TMC faculty for many years), Oliver Knussen, Lorin Maazel, Wynton Marsalis, 
Zubin Mehta, Sherrill Milnes, Leontyne Price, Ned Rorem, Sanford Sylvan, Cheryl 
Studer, Michael Tilson Thomas, Dawn Upshaw, Shirley Verrett, and David Zinman. 

Today, alumni of the Tanglewood Music Center play a vital role in the musical life of the 
nation. Tanglewood and the Tanglewood Music Center, projects with which Serge Kousse- 
vitzky was involved until his death, have become a fitting shrine to his memory, a living 
embodiment of the vital, humanistic tradition that was his legacy. At the same time, the 
Tanglewood Music Center maintains its commitment to the future as one of the world's 
most important training grounds for the composers, conductors, instrumentalists, and vocal- 
ists of tomorrow. 




BSO Music Director James Levine, who works with the TMC Fellows in classes on orchestral 
repertoire, Lieder, and opera, shown here with TMC Vocal Fellows in a July 2005 session devoted 
to Mozart's "Don Giovanni" 









TO: STOCKBRIDGE 



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HAWTHORNE 
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| RESTROOMS 

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(ACCESSIBLE TO handicapped) 

D TELEPHONES 

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VISITOR CENTER 

El ATM 

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(outside of entrance gates) 

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For rates and 
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Boston Symphony, 
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please contact: 

STEVE GANAK AD REPS 
51 CHURCH STREET 
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IN CONSIDERATION OF OUR PERFORMING ARTISTS AND PATRONS 

PLEASE NOTE: TANGLEWOOD IS PLEASED TO OFFER A SMOKE-FREE 

ENVIRONMENT. WE ASKTHAT YOU REFRAIN FROM SMOKING 

ANYWHERE ON THE TANGLEWOOD GROUNDS. DESIGNATED 

SMOKING AREAS ARE MARKED OUTSIDE THE ENTRANCE GATES. 

Latecomers will be seated at the first convenient pause in the program. 

If you must leave early, kindly do so between works or at intermission. 

Please do not bring food or beverages into the Music Shed or Ozawa Hall. 

PLEASE NOTE THAT THE USE OF AUDIO OR VIDEO RECORDING EQUIPMENT 

DURING CONCERTS AND REHEARSALS IS PROHIBITED, AND THAT VIDEO 

CAMERAS MAYNOT BE CARRIED INTO THE MUSIC SHED OR OZAWA HALL 

DURING CONCERTS OR REHEARSALS. 

Cameras are welcome, but please do not take pictures during the performance as the noise and 
flash are disturbing to the performers and to other listeners. 

FOR THE SAFETY OF YOUR FELLOW PATRONS, PLEASE NOTE THAT COOKING, 

OPEN FLAMES, SPORTS ACTIVITIES, BIKES, SCOOTERS, SKATEBOARDS, AND 

TENTS OR OTHER STRUCTURES ARE PROHIBITED FROM THE TANGLEWOOD 

GROUNDS, AND THAT BALL PLAYING IS NOT PERMITTED ON THE SHED LAWN 

AT ANY TIME WHEN THE GROUNDS ARE OPEN FOR A SHED CONCERT. 

In consideration of the performers and those around you, please be sure that your cellular 

phones, pagers, and watch alarms are switched off during concerts. 

THANK YOU FOR YOUR COOPERATION. 






TANGLEWOOD INFORMATION 

PROGRAM INFORMATION for Tanglewood events is available at the Main Gate, Bernstein 
Gate, Highwood Gate, and Lion Gate, or by calling (413) 637-5165. For weekly pre-recorded 
program information, please call the Tanglewood Concert Line at (413) 637-1666. 

BOX OFFICE HOURS are from 10 a.m. until 6 p.m. Monday through Friday (extended through 
intermission on concert evenings); Saturday from 9 a.m. until intermission; and Sunday from 
10 a.m. until intermission. Payment may be made by cash, personal check, or major credit card. 
To charge tickets by phone using a major credit card, please call SYMPHONYCHARGE 
at 1-888-266-1200, or in Boston at (617) 266-1200. Tickets can also be ordered online at 
www.tanglewood.org. Please note that there is a service charge for all tickets purchased by phone 
or on the web. 

TANGLEWOOD 's WEB SITE at www.tanglewood.org provides information on all Boston Sym- 
phony and Boston Pops activities at Symphony Hall and at Tanglewood, and is updated regularly. 

FOR PATRONS WITH DISABILITIES, parking facilities are located at the Main Gate and 
at Ozawa Hall. Wheelchair service is available at the Main Gate and at the reserved-parking lots. 
Accessible restrooms, pay phones, and water fountains are located throughout the Tanglewood 
grounds. Assistive listening devices are available in both the Koussevitzky Music Shed and Seiji 
Ozawa Hall; please speak to an usher. For more information, call VOICE (413) 637-5165. To pur- 
chase tickets, call VOICE 1-888-266-1200 or TDD/TTY (617) 638-9289. For information about 
disability services, please call (617) 638-9431. 

IN CASE OF SEVERE LIGHTNING, visitors to Tanglewood are advised to take the usual pre- 
cautions: avoid open or flooded areas; do not stand underneath a tall isolated tree or utility pole; 
and avoid contact with metal equipment or wire fences. Lawn patrons are advised that your auto- 
mobile will provide the safest possible shelter during a severe lightning storm. Readmission passes 
will be provided. 

FOOD AND BEVERAGES can be obtained at the Tanglewood Cafe and at other locations as 
noted on the map. The Tanglewood Cafe is open Monday through Friday from 11:30 a.m. to 2:30 
p.m., Saturdays from 9 a.m. to 2:30 p.m., Sundays from noon until 7:30 p.m., and through the in- 
termission of all Tanglewood concerts. Visitors are invited to picnic before concerts. Meals to go 
may be ordered several days in advance at www.tanglewood.org or by phone at (413) 637-5240. 




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LAWN TICKETS: Undated lawn tickets for both regular Tanglewood concerts and specially 
priced events may be purchased in advance at the Tanglewood box office. Regular lawn tickets for 
the Music Shed and Ozawa Hall are not valid for specially priced events. Lawn Pass Books, 
available at the Main Gate box office, offer eleven tickets for the price of ten. LAWN TICKETS 
FOR ALL BSO AND POPS CONCERTS IN THE SHED MAY BE UPGRADED AT THE 
BOX OFFICE, subject to availability, for the difference in the price paid for the original lawn 
ticket and the price of the seat inside the Shed. 

SPECIAL LAWN POLICY FOR CHILDREN: On the day of the concert, children under 
the age of twelve will be given special lawn tickets to attend Tanglewood concerts FREE OF 
CHARGE. Up to four free children's lawn tickets are offered per parent or guardian for each con- 
cert, but please note that children under five must be seated on the rear half of the lawn. Please 
note, too, that children under five are not permitted in the Koussevitzky Music Shed or in Seiji 
Ozawa Hall during concerts or Open Rehearsals, and that this policy does not apply to organized 
children's groups (15 or more), which should contact Group Sales at Symphony Hall in Boston, 
(617) 638-9345, for special rates. KIDS' CORNER, where children accompanied by adults may 
take part in musical and arts and crafts activities supervised by BSO staff, is available during the 
Saturday-morning Open Rehearsals and beginning at 12 noon before Sunday-afternoon concerts. 
Further information about Kids' Corner is available at the Visitor Center. 

OPEN REHEARSALS by the Boston Symphony Orchestra are held each Saturday morning 
at 10:30, for the benefit of the orchestra's Pension Fund. Tickets are $17 and available at the 
Tanglewood box office. A half-hour pre-rehearsal talk about the program is offered free of charge 
to ticket holders, beginning at 9:30 in the Shed. 

STUDENT LAWN DISCOUNT: Students twelve and older with a valid student ID receive 
a 50% discount on lawn tickets for Friday-night BSO concerts. Tickets are available only at the 
Main Gate box office, and only on the night of the performance. 

FOR THE SAFETY AND CONVENIENCE OF OUR PATRONS, PEDESTRIAN WALK- 
WAYS are located in the area of the Main Gate and many of the parking areas. 

THE LOST AND FOUND is in the Visitor Center in the Tanglewood Manor House. Visitors 
who find stray property may hand it to any Tanglewood official. 

FIRST AID STATIONS are located near the Main Gate and the Bernstein Campus Gate. 

PHYSICIANS EXPECTING CALLS are asked to leave their names and seat numbers with the 
guide at the Main Gate (Bernstein Gate for Ozawa Hall events). 

THE TANGLEWOOD TENT near the Koussevitzky Music Shed offers bar service and picnic 
space to Tent Members on concert days. Tent Membership is a benefit available to donors through 
the Tanglewood Friends Office. 

THE GLASS HOUSE GIFT SHOPS adjacent to the Main Gate and the Highwood Gate sell 
adult and children's leisure clothing, accessories, posters, stationery, and gifts. Please note that the 
Glass House is closed during performances. Proceeds help sustain the Boston Symphony concerts 
at Tanglewood as well as the Tanglewood Music Center. 



di 



Tanglewood Visitor Center 

The Tanglewood Visitor Center is located on the first floor of the Manor House at the rear 
of the lawn across from the Koussevitzky Music Shed. Staffed by volunteers, the Visitor 
Center provides information on all aspects of Tanglewood, as well as information about 
other Berkshire attractions. The Visitor Center also includes an historical exhibit on Tangle- 
wood and the Tanglewood Music Center, as well as the early history of the estate. 

You are cordially invited to visit the Center on the first floor of the Tanglewood Manor 
House. During July and August, daytime hours are from 10 a.m. to 4 p.m. Monday through 
Friday, from 9 a.m. to 4 p.m. on Saturday, and from noon until twenty minutes after the con- 
cert on Sunday, with additional hours Friday and Saturday evenings from 5:30 p.m. until 
twenty minutes after the concerts on these evenings, as well as during concert intermissions. 
In June and September the Visitor Center is open only on Saturdays and Sundays, from 10 
a.m. to 4 p.m. There is no admission charge. 



BOSTON SYMPHONY ASSOCIATION OF VOLUNTEERS 
TANGLEWOOD ADMINISTRATIVE COMMITTEE 2007 

Nina Jung, Director of Development Events and Volunteer Outreach 



President 

Ann Philbin 

Executive Vice-President 

Bill Ballen 

Immediate Past Executive 

Vice-President 

Ursula Ehret-Dichter 

Vice-President 

Margery Steinberg 

Secretary 

Wilma Michaels 

Nominating, Executive Chair 

Mel Blieberg 



COMMUNITY/ 

AUDIENCE SERVICES 

Gus Leibowitz, 

Executive Chair 

Education and Community 

Outreach 

Norma Ruffer 

Tour Guides 

Marita Renner 

Ron Winter 

Brochure Distribution 

Sharon Shepard-Ballen 

Ushers and Programmers 

Mary J. Papa 

Bob Rosenblatt 

Transportation Bus Greeters 

Roberta Cohn 

Susan Price 



DEVELOPMENT 
Howard Arkans, 
Executive Chair 

Annual Fund 

Mary Jane Handler 

Joseph Handler 

Friends Office 

Judy Benjamin 

Carol Kosakoff 

Seranak Gardens and Flowers 

Jack Adler 

Tent Club 

Carolyn Corby 

Helen Kimpel 



EDUCATION 

Midge Sandlin, 

Executive Chair 

Joys ofTanglewood 

(Berkshire Museum Series) 

Gabe Kosakoff 

Elena Winter 

Talks & Walks 

Ivan Kates 

Mary Ellen Tremblay 

Tanglewood for Kids 

Rita Blieberg 

Stephanie Gittleman 

Youth Activities 

Andrew Garcia 

Brian Rabuse 

Exhibition Docents 

Michael Geller 

Carole Siegel 



MEMBERSHIP 

Ken Singer, Executive Chair 

Membership Events 

Marsha Burniske 

Roz Mancher 

Database 

Ned Dana 

Newsletter 

Sylvia Stein 

Personnel 

Alexandra Warshaw 

Ready Team 

Jessica Mormann 

Retired Volunteers Club 

Judith Cook 



TMC 

Bob Gittleman, Executive 
Chair 

TMC Lunch Program 

Sue Arkans 

Transportation Coordinator 

Carol Maynard 

Opening Exercises 

Mary Blah- 
Karen Methven 
Tanglewood on Parade Picnic 
Rosalie Beal 
Arline Breskin 



TANGLEWOOD 2007 TALKS & WALKS 

"Talks &c Walks" is a series of informal conversations presented by guest artists and mem- 
bers of the Tanglewood family in the Tent Club on Thursday afternoons. The Tent Club 
opens at noon; the talks begin at 1 p.m. and are followed by guided walks at 1:45 p.m. led 
by Tanglewood Association tour guides. Subject to availability, individual tickets are sold 
between 12:30 and 1 p.m. on the day of the talk for $15 at the Tent Club ($10 for Friends 
ofTanglewood). Bring along a picnic lunch; beverages and dessert are available for pur- 
chase. This year's series takes place on the following Thursdays: 



'.*./ 



July 12 
July 19 
July 26 
August 2 
August 9 
August 16 
August 23 






Thomas Hampson, Baritone 

Christine Brewer, Soprano 

Kurt Masur, Conductor 

James Sommerville, BSO Principal Horn 

Emanuel Ax, Pianist 

Keith Lockhart, Conductor, Boston Pops Orchestra 

Marc Mandel, BSO Director of Program Publications 



IN TRIBUTE TO FLORENCE GOULD 




Florence Lacaza 
Gould onboard 
the 5.5. Hormandh 
during its 
voyage, 1935 



Florence Gould 

Florence Lacaze Gould, for whom the Florence Gould Auditorium in Seiji Ozawa 
Hall is named, was born in San Francisco to French parents in 1895. The San Francisco 

earthquake of 1906 
destroyed her father's 
printing house, and 
the family returned 
to France. Florence 
arrived not speaking 
a word of French, 
but she was quick, 
intelligent, and mu- 
sically gifted, and by 
the age of sixteen she 
was studying voice 
at the Paris Conser- 
vatory. Although she 
asserted throughout 
her life that she "had 
not a drop of Ameri- 
can blood," she remained a U.S. citizen until her death in 1983. 

Florence returned to San Francisco with her new husband, an American architect, at 
the outbreak of World War I, but the marriage did not last and she returned to France 
in 1917. Following the Armistice, she recommenced her musical studies, and was often 
to be found singing in the salons of Paris, along with the likes of the famous Parisian 
entertainer Collette. It was at such an event that she caught the eye of Frank Jay Gould, 
son of the American railroad magnate Jay Gould. The two were married in 1923 and, at 
her husband's request, Florence gave up her singing career. 

The Goulds were at the center of social life in the South of France during the 1920s 
and 1930s, where they attracted an international crowd of socialites, artists, and writers. 
They remained in France throughout World War II, during which time Florence served 
as a nurse and established a famous literary salon that became a center of intellectual life 
in wartime Paris. It was also at this time that she became a patron of contemporary 
painters, Braque and Picasso among them, and began amassing an extraordinary collec- 
tion of modern art. 

Frank Gould died in 1956, leaving an enormous fortune to his wife. Florence Gould 
continued her philanthropy to the arts, and was awarded the Legion d'Honneur by 
French President Charles de Gaulle in 1961. The guests of her salon tended no longer 
to be rebellious, avant-garde intellectuals, but, instead, great established personages, 
many of them members of the Academic She also surrounded herself with the leading 
European and American art collectors, dealers, and cultural leaders. At the time of her 
death, her art collection included works by Bonnard, Cassat, Cezanne, Corot, Degas, 
Gaugin, Toulouse-Lautrec, Manet, Monet, Pissarro, Renoir, and Van Gogh. The major- 
ity of the proceeds from the sale of her estate was given to the Florence Gould Foun- 
dation, the principal purpose of which is to foster Franco-American amity and collabo- 
ration. The Florence Gould Foundation endowed the auditorium of Seiji Ozawa Hall, 
naming it in honor of Mrs. Gould, in 1990, and similarly has named other cultural 
facilities throughout the United States and in France. The Foundation also has endowed 
a Fellowship at the Tanglewood Music Center for the benefit of talented young French 









musicians. 



South Mountain Concerts 

Pittsfield, Massachusetts 
89 th Season of Chamber Music 
certs Sundays at 3 P.M. 

September 2 

edo, Robinson Trio 

September 9 

String Quartet 

September 16 

String Quartet 

September 30 

String Quartet 

October 7 

tring Quartet 

and Meriahem Pressler, piano 

H 'm 

For Brochure and Ticket Information Write 

South Mountain Concerts, Box 23 

Pittsfield, MA 01 202 Phone 41 3 442-21 06 

www.southmountainconcerts.com 




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BARDSUMMERSCAPE 

Bard SummerScape 2007 explores the cultural milieu of that most British of composers, Edward Elgar, 
through opera, theater, music, dance, and the 18th annual Bard Music Festival, "Elgar and His World." 
SummerScape takes place in the visually stunning and acoustically superb Fisher Center, designed by 
Frank Cehry, and other venues on campus, including the unique Spiegeltent. 



Two Operas by 
Alexander von Zemlinsky 

A FLORENTINE TRAGEDY 

THE DWARF 

July 27, 29, August 2, 4, 5 

American Symphony Orchestra 

Con J acted bv Leon Botstein 
Directed bv Olivier Tambosi 
Sets and costumes bv 



THE SORCERER 

August 3-5, 8-12 

By Gilbert and Sullivan 
Conducted bv James Bagwell 
Directed by Erica Schmidt 

T H E AT E R 

SAINT JOAN 

My 12-15, 19-22 

By George Bernard Shaw 
Directed by Gregory Thompson 



BARD MUSIC FESTIVAL 
Eighteenth season 

ELGAR AND HIS WORLD 

August 10-12, 17-19 

Two weekends of concerts, 
panels, and other events bring 
the musical world of Edward 
Elgar vividly to life 

FILM FESTIVAL 

BRITISH POSTWAR CLASSICS 

Thursdays and Sundays, 

July 8 -August 9 

Offering such masterpieces 
as The Third Man and Black 
Narcissus and the madcap 
romps produced by Ealin 
Studios 



SPECIAL EVENTS 

SPIEGELTENT 

July 5 -August 19 

The Spiegeltent is the very 

essence of a festival club and 
European "kabaret salon." 
It's the perfect venue for 
rollicking late-night 
performances and 
intimate dining. 



DOUG VARONE AND 
DANCERS 

July 5-8 



SUSAN MARSHALL 
& COMPANY 




BW'«i 



Seven weeks of cultural delight! 
— International Herald Tribune 



For tickets: 845-758-7900 or 
www.fishercenter.bard.edu 



FISHER 



Ann 5rc 3 i 



.-1 



: 



EIGHTEENTH ANNUAL 

BARD MUSIC FESTIVAL 






. 



AND HIS WORLD 



-^^K August 10-12 and 
August 17-19, 2007 



The Bard Music Festival's 18th season explores the musical world of Edward Elgar 
(1857-1934), an outsider to the world of Victorian society whose works nevertheless came 
to embody the essence of English classical music.Through concerts, panels, and special 
events in the Fisher Center, designed by Frank Gehry, and other venues, this year's 
Bard Music Festival promises to bring Elgar and his world vividly to life. 



ton-Deutsch Collection/CORBIS 



WEEKEND ONE 
AUGUST 10-12, 2007 

FRIDAY, AUGUST 10 

PROGRAM ONE 

ELGAR: FROM AUTODIDACT TO 
"MASTER OF THE KING'S 
MUSICK" 
Works by Elgar 

SATURDAY, AUGUST 11 

PROGRAM TWO 

MUSIC IN THE ERA OF 
QUEEN VICTORIA 
Works by Elgar, Cramer, Bennett, 
Mendelssohn-Bartholdy, Walmisley, 
Stainer, Horn, Lehmann, Hatton, 
Sullivan, Wesley, Ouseley 

SPECIAL EVENT 

PIANISTIC ANGLOPHILIA: ELGAR, 
IRELAND, AND GRAINGER 
Performance with commentary 

PROGRAM THREE 

ELGAR AND THE "ENGLISH 
MUSICAL RENAISSANCE" 
Works by Elgar, Parry, Stanford 
American Symphony Orchestra 
Leon Botstein, conductor 



SUNDAY, AUGUST 12 

PROGRAM FOUR 

ELGAR AND THE VICTORIAN 

SPIRIT 

Works by Elgar, Smyth, Somervel, 

Parry, Stanford 

PROGRAM FIVE 

IMPERIAL POMP AND PASTORAL 

NOSTALGIA: BRITISH MUSIC FOR 

BRASS AND STRINGS 

Works by Elgar, Bantock, Strauss, 

Vaughan Williams, Hoist, Ireland, 

Grainger 

WEEKEND TWO 
AUGUST 17-19, 2007 

FRIDAY, AUGUST 17 

PROGRAM SIX 

ELGAR AND THE SALON 
Works by Elgar, Faure, Bridge, 
White, Smyth, Parry, Quitter 

SATURDAY, AUGUST 18 

PROGRAM SEVEN 

"GOD BLESS THE MUSIC HALLS": 
VICTORIAN AND EDWARDIAN 
POPULAR SONG IN AMERICA 
AND BRITAIN 
Performance with commentary 



PROGRAM EIGHT 

THE GREAT WAR AND 
MODERN MUSIC 
Works by Elgar, Debussy, Ireland, 
Bliss, Butterworth, Gurney 

PROGRAM NINE 

ELGAR: THE IMPERIAL 

SELF-PORTRAIT 

Works by Elgar 

American Symphony Orchestra 

Leon Botstein, conductor 

SUNDAY, AUGUST 19 

PROGRAM TEN 

ELGAR AND MODERNISM 
Works by Elgar, Delius, Hoist, 
Scott, Howe I Is, Walton 

PROGRAM ELEVEN 

THE CULTURE OF RELIGION: 
THE DREAM OF GERONTIUS 
Works by Elgar 

American Symphony Orchestra 
Leon Botstein, conductor 



THE RICHARD B. 

FISHER 
CENTER 

FOR THE 

PERFORMING ARTS 
AT BARD COLLEGE 

Annandale-on-Hudson, N.Y. 



Tickets are $25 to $55. Panels and symposia are free. 
For tickets call 845-758-7900 or visit www.frshercenter.bard.edu 










Seiji Ozawa Hall at Tanglewood 

July 17 - August 22, 2007 

Table of Contents 

Tuesday, July 17, at 8:30 2 

THOMAS HAMPSON, baritone; WOLFRAM RIEGER, piano; 
BOSTON SYMPHONY CHAMBER PLAYERS 

Music of Schumann, Barber, and Mahler 

Wednesday, July 25, at 8:30 13 

NETHERLANDS BACH SOCIETY, 
JOS VAN VELDHOVEN, conductor 
J.S. Bach's Mass in B minor 

Thursday, July 26, at 8:30 26 

NETHERLANDS BACH SOCIETY, 
JOS VAN VELDHOVEN, conductor 
Music of J.S. Bach 

Wednesday, August 8, at 8:30 33 

PIERRE-LAURENT AIMARD, piano 

Music of Schumann, J.S. Bach, Benjamin, and Carter 

Thursday, August 16, at 8:30 40 

JOSE VAN DAM, bass-baritone; CRAIG RUTENBERG, piano 
Songs of Faure, Duparc, Debussy, Ibert, and Poulenc 

Tuesday, August 21, at 8:30 47 

ORCHESTRA OF THE EIGHTEENTH CENTURY, 

FRANS BRUGGEN, conductor 
All- Schubert Program 

Wednesday, August 22, at 8:30 54 

ORCHESTRA OF THE EIGHTEENTH CENTURY, FRANS 

BRUGGEN, conductor; KRISTIAN BEZUIDENHOUT, fortepiano 
All-Beethoven Program 






Tangle wood 



Tuesday, July 17, at 8:30 

Florence Gould Auditorium, Seiji Ozawa Hall 

THOMAS HAMPSON, baritone 
WOLFRAM RIEGER, piano 

BOSTON SYMPHONY CHAMBER PLAYERS 



c\ 



SEIJI OZAWA HALL 



Malcolm Lowe, violin 
Haldan Martinson, violin 
Steven Ansell, viola 
Jules Eskin, cello 
Edwin Barker, double bass 



Elizabeth Rowe, flute and piccolo 
John Ferrillo, oboe 
William R. Hudgins, clarinet 
Richard Svoboda, bassoon 
James Sommerville, horn 



with assisting Boston Symphony Orchestra members 

Robert Sheena, English horn 

Craig Nordstrom, clarinet and bass clarinet 

Suzanne Nelsen, bassoon 

Daniel Katzen, horn 

Ann Hobson Pilot, harp 



State Street Global Advisors is proud to sponsor the 2007 Tanglewood season. 



Steinway and Sons Pianos, selected exclusively for Tanglewood 

Special thanks to Delta Air Lines and Commonwealth Worldwide Chauffeured Transportation 

In consideration of the performers and those around you, cellular phones, pagers, 
and watch alarms should he switched off during the concert. 

Please do not take pictures during the concert. Flashes, in particular, are distracting to 
the performers and other audience members. 

Note that the use of audio or video recording equipment during performances in the 
Koussevitzky Music Shed or Ozawa Hall is prohibited. 







SCHUMANN 20 Lieder und Gesange aus dem Lyrischen Intermezzo 

im Buch der Lieder fur eine Singstimme und das 
Pianoforte / Gedichte von Heinrich Heine (1840) 

Mr. Hampson performs the complete cycle as contained in the Deutsche 
Staatsbibliotek Berlin manuscript, composed by Schumann in 1840 and 
originally designated as Opus 29, later published as the Dichterliebe, 
Opus 48, in 1844. 

Im wunderschonen Monat Mai 
Aus meinen Tranen spriessen 
Die Rose, die Lilie, die Taube 
Wenn ich in deine Augen seh' 
Dein Angesicht 
Lehn' deine Wang' 
Ich will meine Seele tauchen 
Im Rhein, im heiligen Strome 
Ich grolle nicht 
Und wiissten's die Blumen 
Das ist ein Floten und Geigen 
Hor' ich das Liedchen klingen 
Ein Jungling liebt ein Madchen 
Am leuchtenden Sommermorgen 
Es leuchtet meine Liebe 
Mein Wagen rollet langsam 
Ich hab' im Traum geweinet 
Allnachtlich im Traume 
Aus alten Marchen winkt es 
Die alten, bosen Lieder 

Messrs. HAMPSON and RIEGER 
Please note that text and translation are being distributed separately. 




INTERMISSION 



BARBER 



Summer Music for woodwind quintet, Opus 31 

Ms. ROWE; Messrs. FERRILLO, HUDGINS, 
SVOBODA, and SOMMERVILLE 



Program continues. 




ESPEARL 
©COMPANY 



MAY 25-SERT 

Rough Crossing 



Night's Dream 

by William Shakespeare 



Blue/Orange 

Joe Penhall 

l 

JULY 27-S1PT 2 

Antony and Cleopati 

by William Shakespeare 
SEPT 28-OCT 28 

The Secret of 
Sherlock Holmesf" 

by Jeremy Paul 




Four shows a day on two stages, 
and FREE Bankside Festival 

Banl vde Festival sponsored by Teddi and Francis Laurin 

Tickets ►Shakespeare.org or 413-637-3353 



MAHLER Kindertotenlieder (chamber version by 

Hampson/Stark-Voit, 2007; American premiere) 

Nun will die Sonn so hell aufgeh'n 

Nun seh' ich wohl, warum so dunkle Flammen 

Wenn dein Mutterlein tritt zur Tiir herein 

Oft denk' ich, sie sind nur ausgegangen 

In diesem Wetter, in diesem Braus 

Mr. HAMPSON 

Ms. ROWE; Messrs. FERRILLO, SHEENA, HUDGINS, 

NORDSTROM, and SVOBODA; Ms. NELSEN; 

Messrs. SOMMERVILLE and KATZEN; Ms. HOBSON 

PILOT; Messrs. LOWE, MARTINSON, ANSELL, 

ESKIN, and BARKER 



Please note that text and translation are being distributed separately. 




NOTES ON THE PROGRAM 

Robert Schumann (1810-1856) 

20 Lieder und Gesange aus dem Lyrischen Intermezzo im Buch der Lieder fur eine 
Singstimme und das Pianoforte / Gedichte von Heinrich Heine (1840) 

Robert Schumann essentially composed the music we know as his song cycle Dichter- 
liebe ("Poet's Love"), on poems of the great German Romantic poet Heinrich Heine 
(1797-1856), during his great "song year" 1840, as part of an overall output also includ- 
ing (among other things) his Liederkreis (Opus 24) also to 
texts of Heine, and the song collection Myrthen, Opus 25, his 
wedding present to his bride Clara. But by the time C.F. 
Peters published Dichterliebe in 1844, Schumann chose to 
omit from the printed version four of the twenty songs that 
were part of his original conception — "Dein Angesicht" and 
"Lehn deine Wang'," which immediately followed "Wenn ich 
in deine Augen seh' "; and "Es leuchtet meine Liebe" and 
"Mein Wagen rollet langsam," which came after "Am leucht- 
enden Sommermorgen." Schumann's preserved correspon- 
dence tells us much about what transpired as he approached 
several publishers to print the cycle. The first reference to the specific title "Dichterliebe" 
appears only in a letter of December 1843 to the publisher C.E Peters; it appears again 
in an August 1844 letter to Peters when Schumann requested from the publisher copies 
of Dichterliebe following the printing of the sixteen-song version as his Opus 48. The 
four omitted songs were published only in 1858, after Schumann's death, as part of two 





The quartet joins 

an internationally 

recognized faculty, 

plays a central role 

in the Stony Brook 

Chamber Music 

Program, and directs 

the Emerson Quartet 

International Chamber 

Music Workshop. 



& 




/ner&ofi/ 



In residence at Stony Brook University 



Emerson String Quartet 

Eugene Drucker, Violin • Philip Setzer, Violin 
Lawrence Dutton, Viola • David Finckel, Cello 

Chamber Music Faculty includes 

Elaine Bonazzi • Colin Carr • Joseph Carver • Kevin Cobb 
Christina Dahl • Pamela Frank • Daniel Gilbert • Gilbert Kalish 
Eduardo Leandro • Timothy Long • Frank Morelli • Kathryn 
Murdock • Michael Powell • William Purvis • Stephen Taylor 
Chris Pedro Trakas • Carol Wincenc 



For more information, visit our Web site 
www. stony brook, edu/music 
or call (631) 632-7330. 

Stony Brook University/SUNY is an affirmative action, 
equal opportunity educator and employer. 



ST#NY 
BR«#K 

STATE UNIVERSITY OF NEW YORK 






/*'** 




* 



FRIENDS OF 

Tanglewood Music Center 

Each summer, the Tanglewood Music 
Center-one of the most influential centers 
for advanced musical study-offers tuition- 
free fellowships to approximately 150 of 
the most talented young musicians in the 
world. 

The TMC relies on support from individuals and 
businesses to fund these fellowships. A gift of 
$7,500 or $15,000 funds a half- or full-fellowship. 

Become a Fellowship Sponsor today. 

For more information, call Barbara Hanson 

at (413) 637-5278 or bhanson@bso.org. 



song collections (printed as his Opus 127 and Opus 142) made up of previously unpub- 
lished songs, all in fact dating from 1840. 

When Thomas Hampson was preparing a performance of Dichterliebe in the early 
1990s, he decided to consult the composer's manuscript at the Staatsbibliotek in Berlin 
but was unable to find anything under that title; instead he came upon Schumann's 
manuscript of the original, twenty-song version of the cycle, entitled "20 Lieder und 
Gesange aus dem Lyrischen Intermezzo' — "20 Songs from the Lyrischen Intermezzo [of 
Heinrich Heine]." (A full account of the discovery, along with detailed consideration of 
the relevant Schumann correspondence and the circumstances of Dichterliebe 's publica- 
tion, can be found on Thomas Hampson's website at www.hampsong.com/foundation/- 
blog/schumannheine.php.) Hampson gave the world premiere of this version in Geneva 
in October 1992 and the North American premiere a month later, in Boston, also going 
on to record it in 1994 for EMI. 

Based on repeated hearings of the twenty-song version, one may speculate that 
Schumann's reasons for ultimately eliminating the four "extra" songs had to do with 
matters of tonality, length, poetic imagery, and musical tone; but even given such specu- 
lation, more important is the fact that encountering Schumann's original conception in 
performance provides listeners an opportunity to hear "what might have been." And 
though the four missing songs had already been published "in place" in the 1971 
Norton Critical Score of Dichterliebe, the fact of the matter is that besides those four 
songs, there are also numerous, sometimes startling differences from the familiar pub- 
lished versions of the familiar sixteen, not only in the vocal lines, but in the piano as 
well, as is evident from the very first song. This is not the place to catalogue those dif- 
ferences (some of the most obvious come in the vocal lines of "Das ist ein Floten und 
Geigen" and "Aus alten Marchen winkt es"). More important is that Thomas Hampson 
here gives us an extraordinary opportunity to look into the composer's workshop, there- 
by heightening our appreciation of Schumann's creative process in producing one of the 
finest Lieder cycles ever written. 

—Marc Mandel 

Samuel Barber (1910-1981) 

Summer Music for woodwind quintet, Opus 31 

Samuel Barber composed his only work for woodwind quintet — and one of his rela- 
tively rare pieces of pure chamber music — on commission from the Chamber Music 
Society of Detroit. The work was premiered at the Detroit Institute of Arts on March 20, 

1956. Perhaps it was the outdoorsy sound of the wind instru- 
ments, so characteristic of 18th-century serenades (which, of 
course, only took place in summer weather), that suggested 
the notion of "summer music" for the title of the piece, but 
the score actually borrowed its opening material and a later 
contrapuntal passage between the flute and bassoon from an 
1 1 "^ orchestral work, Horizon, which Barber had composed for 

"The Standard Oil Hour" on NBC radio in 1945. 

When Barber began working on the commission early in 
1955, he sat in on rehearsals of the New York Woodwind 
Quintet to familiarize himself with the overlapping ranges of 
the instruments and their particular musical character when used in this combination. 
The quintet had also prepared special charts of the pitches and chords that were hardest 
to play in tune on their instruments, and had developed exercises to strengthen their 
performance of such passages. Barber studied these avidly, and employed some of them 





Ifisf 












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for a predominantly chordal section of the piece. 

Whatever the origin of the work's title, the opening, marked "Slow and indolent," 
introduces an upper-neighbor-note figure in the horn that perfectly captures the lassi- 
tude of a hot summer day This figure runs almost throughout the quintet as a frequent 
accompaniment, sometimes in several parts at once, as if they are all momentarily drained 
of energy. A splash of roulades on the flute, clarinet, and bassoon brings on the oboe 
with a tender, hesitating little song, accompanied by the neighbor-note figure. A lively 
and much faster section provides striking contrast, though the hesitant song of the oboe 
soon returns. Both of these elements are worked out against one another as the motion 
builds to "Joyous and flowing" before returning to the opening material for a final leave- 
taking and a brilliant, buzzing conclusion. 

— Steven Ledbetter 




Gustav Mahler (1860-1911) 

Kindertotenlieder, arranged for chamber ensemble (2007) by Thomas Hampson 
and Renate Stark- Voit 

Mahler was an expert on the deaths of children — not an uncommon qualification at a 
time when infant mortality in northern Europe stood at a rate of nearly 200 per 1,000 
live births. Of his thirteen siblings, seven died in infancy (his one older brother, Isidor, 

had died before Gustav's birth), and his favorite brother, Ernst, 
died in 1874 at thirteen. We do not know when Mahler first 
read Friedrich Riickert's Kindertotenlieder ("Songs on the 
Death of Children"), but he was ready for them — the more so 
because one of the two children whom the poet mourned was 
also called Ernst. (Riickert's own children, Ernst and Luise, 
died in 1836; the 423 Kindertotenlieder were, the poet's response 
to that catastrophe.) 

In 1901, when he composed what are now the first, second, 
and fifth of the Kindertotenlieder, Mahler had no children of 
his own; in fact he was not yet married and would not even 
meet his future wife, Alma Maria Schindler, until the end of that year. The death that 
had most pained him, that of his brother Ernst, was seventeen years in the past and 
thoroughly absorbed and internalized; Mahler already knew what he needed to know 
in order to compose his songs. In 1904, when he decided to complete the cycle for the 
Viennese Composers' Association's Mahler evening, he was the father of two daughters, 
Maria, going on two, and Anna, just born on 15 June. 

No one would give this much thought but for two facts: Maria died of diptheria in 
the summer of 1907 and Alma Mahler in her memoirs makes much of having been 
appalled that the father of two healthy children should write Kindertotenlieder. She had 
implored her husband not to tempt providence — not to paint the devil on the wall, as 
the Austrians and Germans say. Given her penchant for rearranging history, we cannot 
be sure what she really felt, thought, and said in that summer of 1904. Mahler himself, in 
the throes of completing the shattering finale of his one unambiguously tragic symphony, 
the Sixth, was, on the other hand, unconcerned, utterly happy, and as much at peace as 
ever in his life. 

A few words word about the version of Kindertotenlieder being performed this evening: 
for a few years after World War I, a Society for Private Musical Performances was 
organized, largely by Arnold Schoenberg and some of his students and friends, to pres- 
ent performances of contemporary music for an audience of society members and their 
guests. Besides premiering new works, the society also performed chamber arrangements 



8 



of significant orchestral works not accepted for performance by the conservative Vienna 
Philharmonic. During the second year of the society's existence, its offerings included a 
chamber transcription of Mahler's Songs of a Wayfarer. Thus the new chamber arrange- 
ment of Kindertotenlieder to be heard tonight not only expands the potential audience 
for this deeply moving masterpiece, but can be understood in a context dating back 
nearly to the composer's own day. 

— Michael Steinberg 

Marc Mandel is Director of Program Publications for the Boston Symphony Orchestra. 

Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1976 to 
1979. He now writes program notes for orchestras and other ensembles from Boston to 
California, and for such concert venues as Carnegie Hall. 

Michael Steinberg was the Boston Symphony Orchestra's Director of Publications from 1976 
to 1979, having previously been music critic of the Boston Globe for twelve years. After leaving 
Boston, he was program annotator for the San Francisco Symphony and then also for the New 
York Philharmonic. Program note for Kindertotenlieder used courtesy San Francisco Symphony. 



• 

■ 


1 


1 





mam 




ARTISTS 

Thomas Hampson 

Thomas Hampson is a singer, actor, scholar, teacher, passionate golfer, 
avid collector of books, and a committed advocate of new technologies. 
Raised in Spokane, Washington, he studied with Sr. Marietta Coyle, Mar- 
tial Singher, Horst Giinter, and Elisabeth Schwarzkopf. His passion for the 
Lied repertoire is not restricted to the German Romantics. He has devoted 
himself especially to composers of his native country through concert 
series and recordings as well as TV and multimedia projects. Chief among 
these has been a twelve-city United States recital tour in 2005-06, with 
pianists Wolfram Rieger and Craig Rutenberg, entitled "Song of America" and presented in 
collaboration with the Library of Congress; the tour will continue in 2008. Song and singing 
to Thomas Hampson are the "diary of our existence" and therefore of the greatest significance 
for intercultural dialogue and understanding. To provide a forum for this kind of exchange, 
he in 2003 established the HAMPSONG Foundation. Its website, www.hampsong.org, not 
only serves as an archive of his own activities as a musician and scholar but also makes avail- 
able the results of these activities to a larger audience. If as a Lied singer Thomas Hampson 
has set new standards, his musical versatility has allowed him to be equally successful in 
opera, operetta, oratorio, and musical theater. His repertoire includes the title roles of Don 
Giovanni, II barbiere di Siviglia, Guillaume Tell, Macbeth, Simon Boccanegra, Eugene Onegin, 
Ambroise Thomas's Hamlet, Massenet's Werther (in the baritone version), Busoni's Doktor 
Faust, Szymanowski's King Roger, Britten's Billy Budd, Hans Werner Henze's Der Prinz von 
Homburg, and the world premiere of Friedrich Cerha's Der Riese vom Steinfeld. In addition, 
he has sung the Count in Le nozze di Figaro, Germont, Renato, the Marquis of Posa, Wolfram, 
Amfortas, Mandryka, Oreste in Gluck's Iphigenie en Tauride, and Athanael in Massenet's 
Thais. In these and other roles he appears at the world's major opera houses, while being par- 
ticularly associated with the Zurich Opera, Metropolitan Opera, San Francisco Opera, Opera 
National de Paris, the Royal Opera House-Covent Garden, and the Vienna State Opera. His 
numerous recordings include most of his opera roles and cover a broad stylistic range, from 
Monteverdi's Vespers and Bach cantatas, which he recorded at the beginning of his career 
with Nikolaus Harnoncourt, to Mendelssohn oratorios, as well as works by Walton, Vaughan 
Williams, Delius, Durufle, and American composer Elinor Remick Warren, to operettas by 
Franz Lehar and Johann Strauss, to musical theater. Most of these recordings have won dis- 
tinguished prizes, among them the Grammy and Gramophone Award, the Grand Prix du 
Disque, the Edison Prize, and the Echo Klassik. Thomas Hampson has been awarded several 



i 



honorary doctorates, honorary membership in the Royal Academy of Music, the tide of Cheva- 
lier des Arts et des Lettres, and the Austrian Honorary Medal (Ehrenkreuz) for Science and 
Art. Mr. Hampson made his Tanglewood and BSO debuts in July 1991 (during a weekend 
dedicated to the memory of Leonard Bernstein), singing music of Bernstein and Mahler 
with the Tanglewood Music Center Orchestra, and appearing with Seiji Ozawa and the 
BSO as soloist in Brahms's Ein deutsches Requiem. Subsequent BSO appearances included 
Orff's Carmina burana under Seiji Ozawa in August 1992, selections from Mahler's Wunder- 
horn songs in Boston and New York in May 2001 also under Ozawa, and a Pension Fund 
concert in February 2004 singing Mahler's Songs of a Wayfarer under Christoph von Dohnanyi. 
This past Sunday afternoon at Tanglewood he sang music of Mahler and Delius with the 
Boston Symphony Orchestra led by Mark Elder. 

Wolfram Rieger 

Wolfram Rieger received piano lessons first from his parents and later 
from Konrad Pfeiffer in Regensburg. He soon developed a deep affection 
for Lied interpretation and therefore continued his studies at the Hoch- 
schule fur Musik in Munich with the famous Lied pianists Erik Werba 
and Helmut Deutsch. After earning his diploma with distinction, he 
attended several master classes with Elisabeth Schwarzkopf, Hans Hotter, 
and Dietrich Fischer-Dieskau. Already during his studies he began teach- 
A ing at Munich's Hochschule fur Musik, until in 1991 he started his own 
Lieder class for singers and pianists. In 1998 he became professor of a Lied class at Berlin's 
Hochschule fur Musik "Hanns Eisler." Mr. Rieger regularly holds master classes in Europe 
and Japan. He is a regular guest artist at many important music centers and festivals through- 
out the world, including the Schubertiade Feldkirch, Schubertiada a Vilabertran, the Con- 
certgebouw in Amsterdam, the Chatelet in Paris, London's Wigmore Hall, New York's 
Carnegie Hall, Vienna's Musikverein and Konzerthaus, Salzburg, the Schleswig-Holstein 
and Munich festivals, Konzerthaus Berlin, and Kolner Philharmonic He appears both as 
recital accompanist and chamber musician, with such renowned artists as Brigitte Fassbaender, 
Barbara Bonney, Juliane Banse, Michelle Breedt, Thomas Hampson, Dietrich Fischer-Dieskau, 
Olaf Bar, Matthias Goerne, Christoph Pregardien, Thomas Quasthoff, Peter Schreier, Michael 
Schade, the Cherubini Quartet, the Vogler Quartet, and the Petersen Quartet, among many 
others. A prolific recording artist, Wolfram Rieger is well represented on numerous CDs, 
many of which have received various awards. Mr. Rieger s awards and distinctions include the 
honorary medal of the Associacio Franz Schubert de Barcelona. 





WILLIAMSTOWN 

THEATRE FESTIVAL 

wtfestivai.org ! 413.597.3400 

ROGER REES I ARTISTIC DIRECTOR 



DISSONANCE 

JUNE 27 - JULY 8 Nikos Stage 



JUNE 14 -24 Center Stage 

The FRONT PAGE 

JULY 4 -15 Main Stage 
JULY 18 -29 Main Stage 
AUG 1-12 Main Stage 

CrimeSof the Heart 

AUG 8 -19 Nikos Stage 



JULY 11- 22 Nikos Stage 
JULY-TC - AUG 5 Nikos Stage 

THE PHYSICISTS 

AUG 7 -18 Center Stage 

<ZSKXi 15-26 Main Stage 



10 




Boston Symphony Chamber Players 

One of the world's most distinguished chamber 
music ensembles sponsored by a major symphony 
orchestra and made up of that orchestra's principal 
players, the Boston Symphony Chamber Players 
include first-desk string, woodwind, and brass play- 
ers from the Boston Symphony Orchestra. Founded 
in 1964 during Erich Leinsdorf s tenure as BSO 
music director, the Chamber Players can perform 
virtually any work within the vast chamber music 
literature; they can expand their range of repertory 
by calling upon other BSO members or enlisting the services of such distinguished artists as 
BSO Music Director James Levine (as both pianist and conductor) or pianists Emanuel Ax 
and Andre Previn. The Chamber Players' activities include an annual four-concert series in 
Boston's Jordan Hall at the New England Conservatory of Music, regular appearances at 
Tanglewood (summer home of the Boston Symphony Orchestra), and a busy touring schedule. 
In addition to appearances throughout the United States, the group has performed in Europe 
and Japan on numerous occasions and has also toured to South America and the Soviet Union. 
Among the Boston Symphony Chamber Players' many recordings are the Beethoven Septet 
and Schubert Octet; Smetana's G major piano trio and Dvorak's string sextet; the Brahms 
string quintets; music of John Harbison with soprano Dawn Upshaw, baritone Sanford Sylvan, 
and pianist Gilbert Kalish; a Copland album with pianist Gilbert Kalish, and a disc of music 
by Leon Kirchner, all on Nonesuch. For Philips the ensemble has recorded the quintets for 
clarinet and strings by Mozart and Brahms with former BSO principal clarinet, the late 
Harold Wright. Deutsche Grammophon has reissued, on a single compact disc, the Chamber 
Players' recordings of Stravinsky's Octet for Winds, Pastorale, Ragtime, and Concertino for 
Twelve Instruments, and Johann Strauss waltzes as arranged for chamber ensemble by Schoen- 
berg, Berg, and Webern. A disc of Mozart chamber music for winds and strings — including 
the Clarinet Quintet in A, the Horn Quintet in E-flat, the F major Oboe Quartet, and the 
Flute Quartet in A, K.298 — was recendy released on BSO Classics. 



- 

H 




11 




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12 




Tanglewood 



Thursday, July 17, at 8:30 

Florence Gould Auditorium, Seiji Ozawa Hall 

THOMAS HAMPSON, baritone 

WOLFRAM RIEGER, piano 

BOSTON SYMPHONY CHAMBER PLAYERS 



c\ 



SEIJI OZAWA HALL 



l 4* 



TEXTS AND TRANSLATIONS 

SCHUMANN "20 Lieder und Gesange aus dem Lyrischen Intermezzo 
im Buch der Lieder fur eine Singstimme und das Pianoforte / Gedichte 
von Heinrich Heine" (1840) 

Poems by Heinrich Heine; English translations by William Mann (1985), 
except Nos. 5, 6, 15, and 16. 



Please withhold applause until the end of the entire song cycle. 



1. Im wunderschonen Monat Mai 

Im wunderschonen Monat Mai, 
Als alle Knospen sprangen, 
Da ist in meinem Herzen 
Die Liebe aufgegangen. 

Im wunderschonen Monat Mai, 
Als alle Vogel sangen, 
Da hab' ich ihr gestanden 
Mein Sehnen und Verlangen. 

2. Aus meinen Tranen sprieften 

Aus meinen Tranen sprieften 
Viel bluhende Blumen hervor. 
Und meine Seufzer werden 
Ein Nachtigallenchor. 

Und wenn du mich lieb hast, 

Kindchen, 
Schenk' ich dir die Blumen all', 
Und vor deinem Fenster soil klingen 
Das Lied der Nachtigall. 



1. In the marvelous month of May 

In the marvelous month of May 
when all the buds were bursting, 
then in my heart did 
love arise. 

In the marvelous month of May 
when all the birds were singing, 
then did I reveal to her 
my yearning and longing. 

2. From my tears there spring 

From my tears there spring 
up many blossoming flowers. 
And my sighs turn into 
a choir of nightingales. 

And if you love me, child, 

I will give you all the flowers, 
and at your window shall sound 
the song of the nightingale. 



Please turn the page quietly. 



HP 



3. Die Rose, die Lilie, die Taube 

Die Rose, die Lilie, die Taube, 

die Sonne, 
Die liebt' ich einst alle in 

Liebeswonne. 
Ich lieb' sie nicht mehr, ich liebe 

alleine 
Die Kleine, die Feine, die Reine, 

die Eine; 
Sie selber, aller Liebe Wonne, 
1st Rose und Lilie und Taube und 

Sonne. 

4. Wenn ich in deine Augen seh' 

Wenn ich in deine Augen seh', 
So schwindet all mein Leid 

und Weh; 
Doch wenn ich kiisse deinen Mund, 
So werd' ich ganz und gar gesund. 

Wenn ich mich lehn' an deine Brust, 
Kommt's iiber mich wie 

Himmelslust; 
Doch wenn du sprichst: Ich liebe 

dich! 
So muss ich weinen bitterlich. 

5. Dein Angesicht 

Dein Angesicht so lieb und schon, 
Das hab' ich jiingst im Traum geseh'n, 
Es ist so mild und engelgleich, 
Und doch so bleich, so 
schmerzensreich. 

Und nur die Lippen, die sind rot; 
Bald aber kiifk sie bleich der Tod. 
Erloschen wird das Himmelslicht, 
Das aus den frommen Augen bricht. 



6. Lehn deine Wang' 

Lehn' deine Wang' an meine Wang', 
Dann fliefien die Tranen zusammen; 
Und an mein Herz driick' fest dein 

Herz, 
Dann schlagen zusammen die 

Flammen! 



3. The rose, the lily, the dove 

The rose, the lily, the dove, the sun, 

once, rapt with love, I loved them all. 

I love them no more, I love only 

her who is small, exquisite, chaste, 

unique. 
She, all loving rapture, herself 
is rose and lily and dove and sun. 

4. When I gaze into your eyes 

When I gaze into your eyes 
all my pain and grief vanishes, 

then when I kiss your mouth 

I am made wholly and completely well. 

When I lean on your bosom 
joy as of heaven comes upon me; 

but when you say "I love you," 

I must weep bitterly. 

5. Your face 

Your face so dear and fair 
I saw lately in a dream; 
it is so mild and angelic 
and yet so full of pain. 

Only your lips are red 
but Death will soon kiss them pale. 
The heavenly light that shines 
from your gentle eyes will be 
extinguished. 

6. Lay your cheek 

Lay your cheek on my cheek, 

then our tears will flow together; 

and press your heart close to my heart, 

then their flames will turn together. 



Und wenn in die grofie Flamme flielk 
Der Strom von unsern Tranen, 
Und wenn dich mein Arm gewaltig 

umschliefk — 
Sterb ich vor Liebessehnen! 

7. Ich will meine Seele tauchen 

Ich will meine Seele tauchen 
In den Kelch der Lilie hinein; 
Die Lilie soil klingend hauchen 
Ein Lied von der Liebsten mein. 

Das Lied soil schauern und beben 
Wie der Kuss von ihrem Mund. 
Den sie mir einst gegeben 
In wunderbar siisser Stund'. 

8. Im Rhein, im heiligen Strome 

Im Rhein, im heiligen Strome, 
Da speigelt sich in den Well'n, 
Mit seinem grossen Dome, 
Das grosse, heilige Koln. 

Im Dom, da steht ein Bildnis, 
Auf goldenem Leder gemalt; 
In meines Lebens Wildniss 
Hat's freundlich hineingestrahlt. 

Es schweben Blumen und Englein 

Um unsre Hebe Frau; 

Die Augen, die Lippen, die 

Wanglein, 
Die gleichen der Liebsten genau. 

9. Ich grolle nicht 

Ich grolle nicht, und wenn das Herz 

auch bricht, 
Ewig verlornes Lieb, ich grolle nicht. 
Wie du auch strahlst in 

Diamantenpracht, 
Es fallt kein Strahl in deines Herzens 

Nacht. 

Das weiss ich langst. Ich sah dich ja 

im Traume, 
Und sah die Nacht in deines 

Herzens Raume, 
Und sah die Schlang', die dir am 

Herzen frisst, 
Ich sah, mein Lieb, wie sehr du 

elend bist. 



And when into that great flame 

flows the stream of our tears, 

and when my arms hold you tight — 

I shall die of love's yearning! 

7. 1 long to sink my soul 

I long to sink my soul 
within the cup of the lily; 
the lily would sing in whispers 
a song of my beloved. 

The song would tremble and quiver 
like the kiss from her mouth 
that once she gave me 
in an hour of wondrous sweetness. 

8. In the Rhine, the holy river 

In the Rhine, the holy river, 
there in the waves is reflected 
with its mighty cathedral, 
mighty, holy Cologne. 

In the cathedral there hangs a picture 
painted on golden leather; 
into the wilderness of my life 
it has shed its friendly beams. 

Flowers and angels hover there 

round Our Lady; 

her eyes, her lips, her cheeks 

are exactly like my beloved s. 

9. 1 do not complain 

I do not complain, even if my heart 

is breaking, 
love lost for ever! I do not complain. 
Though you gleam with the glory of 

diamonds, 
no gleam falls into the night of your 

heart. 



-I 



saw 



you 



in 



I knew it long ago- 

my dreams 
and saw night in the confines of 

your heart, 
and saw the viper that gnaws at 

your bosom; 
I saw, my love, how wretched you are. 



Please turn the page quietly. 



I ! 



10. Und wiifkens die Blumen 

Und wiissten's die Blumen, 

die kleinen, 
Wie tief verwundet mein Herz, 

Sie wiirden mit mir weinen, 
Zu heilen meinen Schmerz. 

Und wiissten's die Nachtigallen, 
Wie ich so traurig und krank, 
Sie liessen frohlich erschallen 
Erquickenden Gesang. 

Und wiissten's sie mein Wehe 
Die goldenen Sternelein, 
Sie kamen aus ihrer Hdhe, 
Und sprachen Trost mir ein. 

Sie alle konnen's nicht wissen, 
Nur eine kennt meinen Schmerz; 
Sie hat ja selbst zerrissen, 
Zerrissen mir das Herz. 

11. Das ist ein Floten und Geigen 

Das ist ein Floten und Geigen, 
Trompeten schmettern darein; 
Da tanzt wohl den Hochzeitreigen 
Die Herzallerliebste mein. 

Das ist ein Klingen und Drohnen, 
Ein Fauken und ein Schalmein; 
Dazwischen schluchzen und stohnen 
Die lieblichen Engelein. 

12. Hdr' ich das Liedchen klingen 

Hor' ich das Liedchen klingen, 
Das einst die Liebste sang, 
So will mir die Brust zerspringen 
Von wildem Schmerzendrang. 

Es treibt mich ein dunkles Sehnen 
Hinauf zur Waldeshoh', 
Dort lost sich auf in Tranen 
Mein iibergrosses Weh. 



10. If only the flowers could know 

If only the flowers, little as they are, 

could know how deeply wounded is 

my heart, 
they would weep with me 
to heal my sorrow. 

If only the nightingales knew 
how sad and sick I am, 
they would gladly pour out 
their refreshing song. 

If only they knew my woe, 
those golden stars, 
they would come down from aloft 
and speak comfort to me. 

They can none of them know, 
one only knows my sorrow; 
she herself has made the rent, 
has rent my heart asunder. 

11. There is fluting and fiddling 

There is fluting and fiddling, 
trumpets are blaring within. 
There in the wedding circle dances 
the best beloved of my heart. 

There is a hubbub and a din, 
drumming and piping, 
and in between are sobbing and wailing 
the dear angels. 

12. When I hear the sound of the song 

When I hear the sound of the song 
that once my beloved sang, 
my bosom is near to bursting 
with the savage strain of sorrow. 

A dark longing drives me 
up to the woody heights; 
there in tears is released 
my overwhelming woe. 



13. Ein Jiingling lieht ein Madchen 

Ein Jiingling liebt ein Madchen, 
Die hat einen andern erwahlt; 
Der andre liebt eine andre 
Und hat sich mit dieser vermahlt. 

Das Madchen nimmt aus Arger 
Den ersten besten Mann, 
Der ihr in den Weg gelaufen; 
Der Jiingling ist libel dran. 

Es ist eine arte Geschichte 
Noch bleibt sie immer neu; 
Und wem sie just passieret, 
Dem bricht das Herz entzwei. 

14. Am leuchtenden Sommermorgen 

Am leuchtenden Sommermorgen 
Geh' ich im Garten herum. 
Es flustern und sprechen die Blumen, 
Ich aber wandle stumm. 

Es flustern und sprechen die Blumen 
Und schaun mitleidig mich an; 
"Sei unsrer Schwester nicht bose, 
Du trauriger, blasser Mann!" 

15. Es leuchtet meine Liebe 

Es leuchtet meine Liebe, 
In ihrer dunkeln Pracht, 
Wie'n Marchen traurig und trube, 
Erzahlt in der Sommernacht. 

"Im Zaubergarten wallen 

Zwei Buhlen, stumm und allein; 

Es singen die Nachtigallen, 

Es flimmert der Mondenschein." 

"Die Jungfrau steht still wie 

ein Bildnis, 
Der Ritter vor ihr kniet. 
Da kommt der Riese der Wildnis, 
Die bange Jungfrau flieht." 

"Der Ritter sinkt blutend zur Erde, 

Es stolpert der Riese nach Haus. . ." 
Wenn ich begraben werde, 
Dann ist das Marchen aus. 



13. A lad loves a girl 

A lad loves a girl; 

she has chosen another. 

That other loves another, 

and it is this one he has married. 

The girl out of anger accepts 
the first good man 
who crosses her path; 
the lad is hard hit. 

It is an old tale 

but it remains ever new, 

and when it has just happened to a man 

his heart breaks in twain. 

14. On a gleaming morning in summer 

On a gleaming morning in summer 
I pace about in the garden. 
The flowers they whisper and speak, 
but I wander speechless. 

The flowers they whisper and speak, 
and look at me compassionately; 
"Do not be cross with our sister, 
you sorrowful, pale-faced man!" 

15. My love shines out 

My love shines out 
in its dark splendor 
like a sad, somber tale 
told on a summer night. 

"In the magic garden wander 
two lovers, silent and alone; 
the nightingales are singing, 
the moonlight glimmers. 

"The maid stands still as a statue, 

the knight kneels before her. 

Then comes the giant of the wasteland, 

and the maiden flees in terror. 

"The knight sinks bleeding to the 

ground, 
the giant lurches back home. . ." 
When I am in my grave 
the story will be done. 



Please turn the page quietly. 




' 



■ 



16. Mein Wagen rollet langsam 

Mein Wagen rollet langsam 
Durch lustiges Waldesgriin, 
Durch blumige Taler, die zaubrisch 
Im Sonnenglanze bliihn. 

Ich sitze und sinne und traume, 
Und denk' an die Liebste mein; 
Da grufien drei Schattengestalten 
Kopfnickend zum Wagen herein. 

Sie hupfen und schneiden Gesichter, 
So spottisch und doch so scheu, 
Und quirlen wie Nebel zusammen, 
Und kichern und huschen vorbei. 

17. Ich hah' im Traum geweinet 

Ich hab' im Traum geweinet, 
Mir traumte, du lagest im Grab. 
Ich wachte auf, und die Trane 
Floss noch von der Wange herab. 

Ich hab' im Traum geweinet, 
Mir traumt', du verliessest mich. 
Ich wachte auf, und ich weinte 
Noch lange bitterlich. 

Ich hab' im Traum geweinet, 
Mir traumte, du warst mir noch gut. 
Ich wachte auf, und noch immer 
Stromt meine Tranenflut. 

18. Allnachtlich im Traume 

Allnachtlich im Traume sen' ich dich, 
Und sehe dich freundlich griissen, 
Und laut aufweinend sturz' ich mich 
Zu deinen siissen Fussen. 

Du siehest mich an wehmutiglich 
Und schuttelst das blonde Kopfchen; 
Aus deinen Augen schleichen sich 
Die Perlentranentropfchen. 

Du sagst mir heimlich ein leises 

Wort, 
Und gibst mir den Strauss von 

Zypressen. 
Ich wache auf, und der Strauss 

ist fort, 
Und's Wort hab' ich vergessen. 



16. My carriage lumbers slowly 

My carriage lumbers slowly 
through cheerful green woods, 
through flowery valleys that bloom 
magically in the sunshine. 

I sit and ponder and dream 
and think of my true love: 
three shadowy figures greet me, 
nodding their heads at the carriage. 

They caper and grimace, 
so mocking yet so timid, 
whirl together like mist 
and whisk by, gibbering. 

17. 1 wept in my dreams 

I wept in my dreams. 

I dreamed you lay in the grave; 

I awoke, and the tears 

still poured down my cheeks. 

I wept in my dreams, 

I dreamed you had left me; 

I awoke and I went on weeping 

long and bitterly. 

I wept in my dreams, 

I dreamed you were still kind to me; 

I awoke, and still 

the flow of my tears streams on. 

18. All night in dreams 

All night in dreams I see you, 
and see you greet me warmly, 
and crying aloud I throw myself 
at your sweet feet, 

You look at me sadly 
and shake your fair head; 
from your eyes there are stealing 
teardrops like pearls. 

Secretly you speak to me a hushed 

word, 
and give me a branch of cypress. 

I wake up, and the branch is gone 

and I have forgotten the word. 



19. Aus alten Marchen winkt es 

Aus alten Marchen winkt es 
Hervor mit weisser Hand, 
Da singt es und da klingt es 
Von einem Zauberland; 

Wo bunte Blumen bliihen 
Im goldnen Abendlicht, 
Und lieblich duftend gliihen 
Mit brautlichem Gesicht; 

Und griine Baume singen 
Uralte Melodei'n, 
Die liifte heimlich klingen, 
Und Vogel schmettern drein; 

Und Nebelbilder steigen 
Wohl aus der Erd' hervor, 
Und tanzen luftgen Reigen, 
Im wunderlichen Chor; 

Und blaue Funken brennen 
An jedem Blatt und Reis, 
Und rote Lichter rennen 
Im irren, wirren Kreis; 

Und laute Quellen brechen 
Aus wildem Marmorstein, 
Und seltsam in der Bachen 
Strahlt fort der Widerschein. 

Ach, konnt' ich dorthin kommen, 
Und dort mein Herz erfreu'n, 
Und aller Qual entnommen, 
Und frei und selig sein! 

Ach! jenes Land der Wonne, 
Das seh' ich oft im Traum; 
Doch kommt die Morgensonne, 
Zerfliesst's wie eitel Schaum. 



19. From old tales someone waves 

From old tales someone waves 

out with a white hand. 

There is singing, and there are sounds 

of a magical land, 

Where gay flowers bloom 
in golden evening light, 
and, sweetly smelling, glow 
with faces radiant as brides, 

And green trees are singing 
the tunes of long ago; 
the breezes sound sofdy 
and birds twitter there. 

And misty shapes rise 
up out of the ground 
and dance in airy circles 
a wondrous assembly, 

And azure sparks are burning 
on every leaf and twig, 
and crimson lights are running 
in circles hither and thither. 

And noisy springs are bursting 
from the unhewn marble rock, 
and strangely in the streams 
glows the reflection. 

Ah! Could I but go there, 
and there make my heart happy, 
and be relieved of all sorrows, 
and be free and full of joy. 

Ah! that land of rapture, 
I see it often in my dreams, 
but the sun comes at morning 
and dispels it like empty bubbles. 



Please turn the page quietly. 











■ 



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u 
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Ic 

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20. Die alten, bosen Lieder 

Die alten, bosen Lieder, 
Die Traume bos' und arg, 
Die lasst uns jetzt begraben; 
Holt einen grossen Sarg. 

Hinein leg ich gar manches, 
Doch sag' ich noch nicht, was; 
Der Sarg muss sein noch grosser 
Wie's Heidelberger Fass. 

Und holt eine Totenbahre 
Und Bretter fest und dick; 
Auch muss sie sein noch langer 
Als wie zu Mainz die Briick'. 

Und holt mir auch zwolf Riesen, 
Die miissen noch starker sein 
Als wie der starke Christoph, 
Im Dom zu Koln am Rhein. 

Die sollen den Sarg forttragen 
Und senken ins Meer hinab, 
Denn solchem grossen Sarge 
Gebiihrt ein grosses Grab. 

Wisst ihr, warum der Sarg wohl 
So gross und schwer mag sein? 
Ich senkt' auch meine Liebe 
Und meinen Schmerz hinein. 



20. The old and evil songs 

The old and evil songs, 
the dreams so evil and bad, 
let us bury them now; 
fetch an enormous coffin. 

In it I'll lay plenty 
(but I don't yet say what it is); 
the coffin must be even larger 
than the tun of Heidelberg. 

And fetch a funeral bier 
and planks firm and thick; 
it too must be even longer 
than the bridge at Mainz. 

And then fetch me twelve giants; 
they must be mightier even 
than mighty St. Christopher 
in the cathedral of Cologne on 
the Rhine. 

They shall carry the coffin away 
and sink it deep in the sea; 
for such a huge coffin 
demands a huge grave. 

Do you know why the coffin 
must be so huge and heavy? 
I want to sink my love 
and my sorrow in it. 



Please withhold applause until the music, which ends quietly, has stopped. 




MAHLER "Kindertotenlieder" 

Poems by Friedrich Ruckert; English translations by Larry Rothe, 
used courtesy San Francisco Symphony, Inc. 

Please withhold applause until the end of the entire song cycle. 



1. Nun will die Sonn so hell aufgeh'n 

Nun will die Sonn so hell aufgeh'n 
als sei kein Ungliick, die Nacht 

gescheh'n! 
Das Ungliick geschah nur mir allein! 
Die Sonne sie scheinet allgemein! 
Du musst nicht die Nacht in 

dir verschranken, 
musst sie ins ew'ge Licht versenken! 
Ein Lamplein verlosch in meinem 

Zelt! 
Heil sei dem Freudenlicht der Welt. 

2. Nun sen' ich wohl 

Nun sen' ich wohl, warum so dunkle 

Flammen 
ihr spriihtet mir in manchem 

Augenblicke, 
O Augen! 

Gleichsam, um voll in einem Blicke 
zu drangen eure ganze Macht 

zusammen. 
Doch ahnt' ich nicht, weil Nebel 

mich umschwammen, 
gewoben vom verblendenden 

Geschicke, 
dass sich der Strahl bereits zur 

Heimkehr schicke, 
dorthin, von wannen alle Strahlen 

stammen. 
Ihr wolltet mir mit eurem Leuchten 

sagen: 
Wir mochten nah dir bleiben gerne! 
Doch ist uns das vom Schicksal 

abgeschlagen. 
Sieh' uns nur an, denn bald sind wir 

dir feme! 
Was dir nur Augen sind in diesen 

Tagen: 



lagen: 

in kiinft'gen Nachten sind 
nur Sterne. 



es dir 



1. Now the sun rises as brightly 

Now the sun rises as brightly 

as if no misfortune had happened in the 

night! 
The misfortune happened only to me! 
The sun shines everywhere! 
You can't allow the night to be folded up 

inside you, 
you must drown it in eternal light! 
A tiny lamp in my tent was 

extinguished! 
Hail to the world's happy light! 

2. Now I think I see 

Now I think I see why such dark flames 

flashed out at me so often, 

oh eyes! — 

as though in one glance 

to compress your entire power. 

But I, enveloped in fog 

woven by blinding fate, 

didn't know that the light was already 

leading you home — 
there, to the source of all light. 

With your light you wanted to tell me: 

We would gladly stay near you! 
But destiny denies us this. 

Just look at us, for soon we'll be far 

from you! 
What are just eyes to you today 

in nights to come will be only stars. 

Please turn the page quietly. 



3. Wenn dein Mutterlein tritt 

zur Tiir herein 

Wenn dein Miitterlein 
tritt zur Tiir herein, 
und den Kopf ich drehe, 
ihr entgegen sehe, 
fallt auf ihr Gesicht 
erst der Blick mir nicht, 
sondern auf die Stelle, 
naher nach der Schwelle, 
dort, wo wiirde dein 
lieb' Gesichtchen sein, 
wenn du freudenhelle 
tratest mit herein, 
wie sonst, mein Tochterlein. 

Wenn dein Miitterlein 

tritt zur Tiir herein, 

mit der Kerze Schimmer, 

ist es mir, als immer 

kamst du mit herein, 

huschtest hinterdrein, 

als wie sonst ins Zimmer! 

O du, des Vaters Zelle, 

ach, zu schnelle, 

zu schnell erlosch'ner Freudenschein! 

4. Oft denk' ich, sie sind nur 

ausgegangen 

Oft denk' ich, sie sind nur 

ausgegangen! 
Bald werden sie wieder nach Hause 

gelangen! 
Der Tag ist schon! O, sei nicht bang! 
Sie machen nur einen weiten Gang! 
Jawohl, sie sind nur ausgegangen 
und werden jetzt nach Hause 

gelangen! 
O, sei nicht bang, der Tag ist schon! 
Sie machen nur den Gang zu jenen 

Hoh'n! 
Sie sind uns nur vorausgegangen 
und werden nicht wieder nach 

Haus verlangen! 
Wir holen sie ein auf jenen Hoh'n 
im Sonnenschein! Der Tag ist schon 

auf jenen Hoh'n! 



3. When your mother comes 

through the door 

When your mother 

comes through the door, 

and I turn my head 

to look at her, 

my glance does not 

fall first on her face; 

rather, it goes to the place, 

closer to the threshold — 

there, where your 

dear little face would be 

when, aglow with happiness, 

you would come in with her, 

just as before, my little daughter. 

When your mother 

comes through the door, 

with the shimmering candle, 

it seems to me you always 

come in with her, 

scurrying behind 

just as before, into the room. 

Oh you, the too quickly, 

too quickly extinguished happy glow 

of your father's cell! 

4. Often I think they have only 

gone out 

Often I think they have only gone out! 

Soon they'll be home again! 

It's a beautiful day! Oh, don't be afraid! 
They're just taking a long walk! 
Yes, indeed, they've only gone out 
and are starting back now! 

Oh, don't be afraid, it's a beautiful day! 
They're just on the path to those heights! 

They have just gone ahead of us 

and will not want to come home again! 

We will go gather them on those heights 
in the sunshine! The day is beautiful 
up there! 



10 



5. In diesem Wetter, in diesem Braus 

In diesem Wetter, in diesem Braus, 
nie hatt' ich gesendet die Kinder 

hinaus! 
Man hat sie getragen, getragen 

hinaus! 
Ich durfte nichts dazu sagen! 
In diesem Wetter, in diesem Saus, 
nie hatt' ich gelassen die Kinder 

hinaus, 
ich furchtete, sie erkranken; 
das sind nun eitle Gedanken. 
In diesem Wetter, in diesem Graus, 
nie hatt' ich gelassen die Kinder 

hinaus, 
ich sorgte, sie stiirben morgen; 
das ist nun nicht zu besorgen. 

In diesem Wetter, in diesem Graus, 
nie hatt' ich gesendet die Kinder 

hinaus, 
man hat sie hinaus getragen, 
ich durfte nichts dazu sagen! 
In diesem Wetter, in diesem Saus, 
in diesem Braus, 

sie ruh'n als wie in der Mutter Haus, 
von keinem Sturm erschrecket, 
von Gottes Hand bedecket, 
sie ruh'n, sie ruh'n wie in der 

Mutter Haus. 



5. In this weather, in this wind 

In this weather, in this wind 

I would never have sent the children out! 

They were carried, carried out! 

I wasn't allowed to say anything about it! 
In this weather, in this howling storm 
I would never have let the children 

go out, 
I was afraid that they would get sick; 
these are just idle thoughts. 
In this weather, in this horror 
I would never have let the children 

go out, 
I was afraid they would die tomorrow; 
but there's nothing to be done for that 

now. 
In this weather, in this horror, 
I would never have sent the children out, 

they were dragged out, 
I wasn't allowed to say anything about it! 
In this weather, in this howling storm, 
in this wind, 

they rest as if in their mother's house, 
in fear of no storm, 
covered by God's hand, 
they rest, they rest as if in their 
mother's house. 



Please withhold applause until the music, which ends quietly, has stopped. 



11 




BOSTON SYMPHONY ORCHESTRA 



Tanglewood 





Wine & Food Classic 

August 9-11, 2007 



Join us this summer for the 5th annual 
Tanglewood Wine & Food Classic. Festivities 
include a wine auction and dinner, Thursday, 
August 9, winemaker reception, Friday, August 10, 
and the Grand Tasting on Saturday from i2-4pm. 

Grand Tasting, August ii: $95 



Visit with winemakers and 

culinary experts, and enjoy 

world class food selections 

in the bucolic ambiance 

of Tanglewood. 



f±K±XG 



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orwww.tanglewoodwineandfoodclassic.com. 




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blanket on the lawn, makii 
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easier with our Meals-to-Go 
bags, boxes, and picnic baskets 
from the Tanglewood Cafe.^g, 



ce orders in advance 
call 413-637-5240 or 
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12 




Tanglewood 



Wednesday, July 25, at 8:30 AND 

Thursday, July 26, at 8:30 

Florence Gould Auditorium, Seiji Ozawa Hall 

NETHERLANDS BACH SOCIETY 
JOS VAN VELDHOVEN, conductor 

TEXTS AND TRANSLATIONS 

Text for Wednesday, July 25, begins on this page. 

Texts for Thursday, July 26, begin on page 5. 



G\ 



SEIJI OZAWA HALL 



For WEDNESDAY, JULY 25, at 8:30 

J.S. BACH Mass in B minor, BWV 232 

Bach's text for the Mass diverges in a few points from the liturgical norm. 
Words printed in italics have been added by Bach (they generally correspond 
to the German Mass). Words that he omitted from the musical setting are in 
brackets. 



I. MISSA 

KYRIE 



Kyrie eleison. 
Christe eleison. 
Kyrie eleison 



Lord, have mercy upon us. 
Christ, have mercy upon us. 
Lord, have mercy upon us. 



GLORIA 



Gloria in excelsis Deo, et in terra 

pax hominibus, bonae voluntatis. 

Laudamus te, benedicimus te, 
adoramus te, gloriflcamus te. 
Gratias agimus tibi propter magnam 
gloriam tuam. 



Glory be to God on high, and on 

earth 
peace, good will toward men. 

We praise thee, we bless thee, 
we worship thee, we glorify thee. 
We give thanks to thee for thy great 
glory. 



Please turn the page quietly. 



Domine Deus, rex coelestis, 
Deus Pater omnipotens, 
Domine Fili unigenite 
Jesu Christe a/tissime, 
Domine Deus, Agnus Dei, 
Films Patris. 

Qui tollis peccata mundi, 
miserere nobis, 

suscipe deprecationem nostram. 
Qui sedes ad dexteram Patris, 
miserere nobis. 

Quoniam tu solus sanctus, tu solus 

Dominus, tu solus altissimus Jesu 

Christe. 

Cum sancto Spiritu in gloria Dei 

Patris, Amen. 



O Lord God, heavenly king, 

God the Father almighty, 

O Lord, the only-begotten son 

Jesus Christ most high, 

O Lord God, Lamb of God, Son of 

the Father. 

Thou that takest away the sins of the 
world, have mercy upon us, receive 
our prayer. 

Thou that sittest at the right hand of 
God the father, have mercy upon us. 

For thou alone art holy; thou only art 
the Lord; thou only, O Jesus Christ, 
art most high. 

With the Holy Ghost, in the glory of 
God the Father, Amen. 



INTERMISSION 




II. SYMBOLUM NICENUM 



CREDO 



Credo in unum Deum. 

Patrem omnipotentem, factorem coeli 

et terrae, visibilium omnium et 

invisibilium, 

Et in unum Dominum Jesum Christum, 
Filium Dei unigenitum; et ex Patre 
narum ante omnia saecula; Deum de 
Deo, lumen de lumine, Deum verum 
de Deo vero; genitum, non factum, 
consubstantialem Patri, per quern 
omnia facta sunt; qui propter nos 
homines et propter nostram salutem 
descendit de coelis. 
Et incarnatus est de Spiritu Sancto 
ex Maria virgine, et homo factus est. 

Crucifixus etiam pro nobis, sub Pontio 
Pilato passus et sepultus est. 

Et resurrexit tertia die 

secundum scripturas; 

et ascendit in coelum, 

sedet ad dexteram Dei Patris; 

et iterum venturus est 

cum gloria judicare 

vivos et mortuos; 

cuius regni non erit finis. 

Et in Spiritum sanctum, Dominum et 
vivificantem, qui ex Patre Filioque 
procedit, qui cum Patre et Filio simul 
adoratur et conglorificatur, qui 
locutus est per Prophetas. Et unam 
sanctam catholicam et apostolicam 
ecclesiam. 

Confiteor unum baptisma in 
remissionem peccatorum. 
Et exspecto resurrectionem mortuorum, 
et vitam venturi saeculi. Amen. 



I believe in one God, 
the Father Almighty, maker of heaven 
and earth, and of all things visible 
and invisible, 

And in one Lord, Jesus Christ, the only- 
begotten Son of God, and begotten of 
his Father before all worlds, God of 
God; light of light, very God of very 
God; begotten, not made, being of 
one substance with the Father, by 
whom all things were made; who for 
us men and for our salvation came 
down from heaven. 

And was incarnate by the Holy Ghost 
of the Virgin Mary, and was made man. 

And was crucified also for us, under 
Pontius Pilate he suffered and was 
buried. 

And the third day he rose again 

according to the Scriptures 

and ascended into heaven, 

and sitteth at the right hand of God the 

Father; and he shall come again 

with glory to judge 

the quick and the dead; 

whose reign shall have no end. 

And in the Holy Ghost, the Lord and 
Giver of life, who proceedeth from 
the Father to the Son, who with 
the Father and the Son together is 
worshipped and glorified, who spake 
by the Prophets. And in one holy 
catholic and apostolic church. 

I acknowledge one baptism for the 
remission of sins. 

And I look for the resurrection of the 
dead, and the life of the world to 
come. Amen. 






■ 
t 



PAUSE 



81 



III. SANCTUS 



Sanctus, sanctus, sanctus, 
Dominus Deus Sabaoth. 
Pleni sunt coeli et terra gloria eius. 
Osanna in excelsis. 



Holy, holy, holy 

is the Lord God of hosts. 

Heaven and earth are full of his glory. 

Hosanna in the highest. 



IV. OSANNA, BENEDICTUS, 
AGNUS DEI, DONA NOBIS PACEM 



Osanna in excelsis. 
Benedictus qui venit 
in nomine Domini. 
Osanna in excelsis. 



OSANNA BENEDICTUS 



Hosanna in the highest. 
Blessed is he that cometh 
in the name of the Lord. 
Hosanna in the highest. 



AGNUS DEI, DONA NOBIS PACEM 



Agnus Dei, 

qui tollis peccata mundi, 

miserere nobis. 

Dona nobis pacem. 



O Lamb of God, 

that takest away the sins of the world, 

have mercy upon us. 

Grant us peace. 




For THURSDAY, JULY 26, at 8:30 



J.S. BACH "Auf, schmetternde Tone der muntern Trompeten," BWV 207a, 
Secular cantata for the name day of King Augustus III, Elector of Saxony 



CHOR 

Auf, schmetternde Tone der muntern 

Trompeten, 
Ihr donnernden Pauken, erhebet 

den Knall! 
Reizende Saiten, ergotzet das Ohr, 
Suchet auf Floten das Schonste zu finden, 
Erfullet mit lieblichem Schall 
Unsre so siifie als griinende Linden 

Und unser frohes Musenchor! 

REZITATIV (TENOR) 

Die stille Pleifte spielt 

Mit ihren kleinen Wellen. 

Das griine Ufer fuhlt 

Itzt gleichsam neue Krafte 

Und doppelt innre rege Safte. 

Es prangt mit weichem Moos und Klee; 

Dort bluhet manche schone Blume, 

Hier hebt zur Flora grofiem Ruhme 

Sich eine Pflanze in die Hoh 

Und will den Wachstum zeigen. 

Der Pallas holder Hain 

Sucht sich in Schmuck und Schimmer 

zu erneun. 
Die Castalinnen singen Lieder, 
Die Nymphen gehen hin und wieder 
Und wollen hier und dort bei 

unsern Linden, 
Und was? den agenehmen Ort 
Ihres schonsten Gegenstandes finden. 
Denn dieser Tag bringt alien Lust; 
Doch in der Sachsen Brust 
Geht diese Lust am allerstarksten fort. 

ARIA (TENOR) 

Augustus' Namenstages Schimmer 
Verklart der Sachsen Angesicht. 
Gott schiitzt die frommen Sachsen immer, 
Denn unsers Landesvaters Zimmer 
Prangt heut in neuen Gliickes Strahlen, 
Die soil itzt unsre Ehrfiircht malen 

Bei dem erwiinschten Namenslicht. 



CHORUS 

Resound, pealing notes of the vigorous 

trumpets, 
Ye drums ringing thunder, raise high 

your report! 
Let charming viols delight now the ear, 
Seek now on flutes the fairest of music, 
And fill ye with beauteous sound 
These our so lovely and flourishing 

lindens 
And this our happy Muses' choir! 

RECITATIVE (TENOR) 

The quiet Pleisse plays 

Amidst its gentle ripples. 

The greening bank perceives 

Now also its new forces 

And doubles inward-stirring humors. 

All gleams with clover and soft moss; 

There bloom the many lovely flowers; 

Aloft to Flora's fame and honor 

Itself a plant here now doth raise 

And would its growth exhibit. 

And Pallas' charming grove 

Itself in lustrous raiment would renew. 

Castalian Muses sing their lyrics, 

The nymphs forever to and fro are coming 

And would, now here, now there, among 

our lindens 
Do what? The charming site and place 
Of their fairest goal and aim discover! 
For this glad day to all brings joy, 
But in the Saxon breast 
Is this delight with greatest force e'er felt. 

ARIA (TENOR) 

Augustus' nameday's lustrous shimmer 
Makes bright the Saxon countenance. 
God keeps the worthy Saxons ever, 
For this our land's own father's chamber 
Doth shine today in new good fortune, 
Which shall paint bright our loyal 

rev'rence 
Beneath his name's most welcome light. 



Please turn the page quietly. 



fzfitfjnR ana ' JmmwrTF *&b -• *> 


1 


1 r 


REZITATIV (SOPRAN, BASS) 


RECITATIVE (SOPRANO, BASS) 




Augustus' Wohl 


Augustus' health 




1st der treuen Sachsen Wohlergehn; 


Is the loyal Saxons' welfare true; 




Augustus' Arm 


Augustus' arm protects 




Beschiitzt der Sachsen griine Weiden, 


The Saxons' verdant pastures, 




Die Elbe nutzt 


The Elbe serves 




Dem Kaufmann mit so vielen Freuden; 


The merchant with so many pleasures; 




Des Hofes Pracht und Flor 


The court's display and flow'r 




Stellt uns Augustus' Gliicke vor; 


Presents Augustus' weal to us; 




Die Untertanen sehn 


The loyal subjects see 




An jedem Ort ihr Wohlergehn; 


In ev'ry place their prosp'rous life; 




Des Mavors heller Stahl 


And Mars' own shining steel must 




mufi alle Feinde schrecken 


all our foes now frighten, 




Um uns vor allem Ungliick zu 


That we from all misfortune be 




bedecken. 


protected. 




Drum freut sich heute der Merkur 


Thus Mercury today is pleased 




Mit seinen weisen Sohnen 


With all his prudent children 




Und findt bei diesen Freudentonen 


And senses midst this joyful music 




Der ersten guldnen Zeiten Spur. 


Of that first golden age the trace. 




Augustus mehrt das Reich. 


Augustus builds the realm. 




Irenens Lorbeer wird nie bleich; 


Irene's laurels ne'er shall fade; 




Die Linden wollen schoner griinen, 


The lindens shall grow ever greener, 




um uns mit ihrem Flor 


That we by their bright flow'r 




Bei diesem hohen Namenstag zu dienen. 


Amidst this lofty nameday's feast 
be tended. 




ARIA (SOPRAN, BASS) 


ARIA (SOPRANO, BASS) 




Mich kann die siifie Ruhe laben, 


Here can the sweet repose refresh me, 




Ich kann hier mein Vergniigen haben, 


I can here find my joy and pleasure, 




Wir beide stehn hier hochst begliickt. 


We both reside here most content. 




Denn unsre fette Saaten lachen 


For here our fertile fields are laughing 




Und konnen viel Vergniigen machen, 


And able to bring much contentment, 




Weil sie kein Feind und Wetter driickt. 


Unpressed by foe and hostile storm. 




Wo solche holde Stunden kommen, 


Where'er such gracious hours are 
passing, 




Da hat das Gliicke zugenommen, 


There hath good fortune found true 
increase, 




Das uns der heitre Himmel schickt. 


Which us a smiling heaven sends. 




RITORNELLO 


RITORNELLO 




REZITATIV (ALT) 


RECITATIVE (ALTO) 




Augustus schutzt die frohen Felder, 


August guards the happy farmlands, 




Augustus liebt die griinen Walder, 


Augustus loves the verdant woodlands, 




Wenn sein erhabner Mut 


When his most valiant heart 




Im Jagen niemals eher ruht, 


From hunting never sooner rests 




Bis er ein schones Tier gefallet. 


Ere he hath felled some prey of merit. 




Der Landmann sieht mit Lust 


The peasant looks with joy 




Auf seinem Acker schone Garben. 


Upon his fields and sheaves so lovely. 




Ihm ist stets wohl bewufit, 


He is forever sure 




Wie keiner darf in Sachsen darben, 


That no one may in Sax'ny famish 
6 





Wer sich nur in sein Glucke findt 
Und seine Krafte recht ergriindt. 

ARIA (ALT) 
Preiset, spate Folgezeiten, 
Nebst dem giitigen Geschick 
Des Augustus grofies Gliick. 
Denn in des Monarchen Taten 
Konnt ihr Sachsens Wohl erraten; 
Man kann aus dem Schimmer lesen, 
Wer Augustus sei gewesen. 

REZITATIV (SOPRAN, ALT, 

TENOR, BASS) 
Ihr Frdhlichen, herbei! 
Erblickt, ihr Sachsen und ihr grofie 

Staaten, 
Aus Augustus' holden Taten, 
Was Weisheit und auch Starke sei. 
Sein allzeit starker Arm stutzt teils 

Sarmatien, 
Teils auch der Sachsen Wohlergehn. 
Wir sehen als getreue Untertanen 
Durch Weisheit die vor uns erlangte 

Friedensfahne. 
Wie sehr er uns geliebt, 
Wie machtig er die Sachsen stets 

geschiitzet, 
Zeigt dessen Sabels Stahl, der vor uns 

Sachsen blitzet. 
Wir konnen unsern Landesvater 
Als einen Held und Siegesrater 
In dem grofimachtigsten August 
Mit heifier Ehrfurcht itzt verehren 
Und unsre Wiinsche mehren. 

Ja, ja, ihr starken Helden, seht der 
Sachsen unerschopfte Krafte 

Und ihren hohen Schutzgott an und 
Sachsens Rautensafte! 

Itzt soil der Saiten Ton 

Die frohe Lust ausdriicken, 

Denn des Augustus fester Thron 

Mufi uns allzeit begliicken. 

Augustus gibt uns steten Schatten, 
Der aller Sachsen und Sarmaten 

Gliick erhalt, 
Der stete Augenmerk der Welt, 
Den alle Augen hatten. 



Who doth but midst his fortune dwell 
And doth his powers righdy grasp. 

ARIA (ALTO) 
Praise ye, coming generations, 
Next to his indulgent fate 
Now Augustus' great good luck. 
For within this monarch's actions 
Can ye Saxon weal discover; 
We can in his light read clearly 
Who Augustus hath been truly. 

RECITATIVE (SOPRANO, ALTO, 

TENOR, BASS) 
Ye happy folk, come forth! 
Behold, ye Saxons and ye mighty nations, 

In Augustus' gracious actions 
What wisdom and what power is. 
His ever mighty arm in part Sarmatia, 

In part the Saxons' welfare guards. 
We witness as his loyal humble subjects 
How wisdom hath for our sake won now 

concord's banner. 
How much he us hath loved, 
How firmly he the Saxons e'er hath 

shielded 
His saber's steel declares, before us 

Saxons flashing. 
We may well then our nation's father 
As a triumphant conquering hero 
In this our mightiest August 
With ardent rev'rence now pay honor 
And our good wishes increase. 

Yes, yes, ye valiant heroes, mark the 

Saxons' never- tiring powers 
And their exalted patron god and 

Saxon piquant humors! 
Now shall the sound of strings 
Give happy joy expression, 
Because Augustus' solid throne 
Must make us always happy. 

Augustus gives us constant cover, 
Who doth all Saxon and Sarmatian 

fortune guard, 
The constant focus of the world, 
Whom ev'ry eye beholdeth. 






m 

mm 



- 



Please turn the page quietly. 



i 



O heitres, hohes Namenslicht! 
O Name, der die Freude mehrt! 
O allerwiinschtes Angedenken, 
Wie starkst du unsre Pflicht! 
Ihr frohe Wunsche und ihr starke 

Freuden, steigt! 
Die Pleifte sucht durch ihr Bezeigen 
Die Linden in so jungen Zweigen 

Der schonen Stunden Lust und 

Wohl zu kron'n 
Und zu erhohn. 

CHOR 

August lebe, 

Lebe, Konig! 

O Augustus, unser Schutz, 

Sei der starren Feinde Trutz, 

Lebe lange deinem Land, 

Gott schutz' deinen Geist und Hand, 

So muft durch Augustus' Leben 

Unsers Sachsens Wohl bestehn, 

So darf sich kein Feind erheben 

Wider unser Wohlergehn. 



O happy, lofty, brilliant name! 
O name which doth all joy increase! 
O thou most welcome sign of honor, 
How firm thou mak'st our bond! 
Ye happy wishes and ye stirring 

pleasures, rise! 
The Pleisse seeks in its expression, 
While lindens gain their fresh new 

branches, 
These lovely moments' joy and health 

to crown 
And to exalt. 

CHORUS 
Live August, 
King, now flourish! 
O Augustus, our great shield, 
Show our stubborn foes thy spite, 
Live a long life for thy land, 
God protect thy soul and hand, 
For thus through Augustus' lifetime 
Must our Saxon weal survive, 
And there can no foe oppose us 
And against our fortune strive. 




BOSTON SYMPHONY ORCHESTRA 



Tanglewood jjfe 




Wine & Food Classic 

August 9-ii, 2007 



Join us this summer for the 5th annual 
Tanglewood Wine & Food Classic. Festivities 
include a wine auction and dinner, Thursday, 
August 9, winemaker reception, Friday, August 10, 
and the Grand Tasting on Saturday from i2~4pm. 

Grand Tasting, August 11: $95 

Call (888) 266-1200, or visit www.tanglewt 
or www.tanglewoodwineandfoodclas5ic.com 



Visit with winemakers and 

culinary experts, and enjoy 

world class food selections 

in the bucolic ambiance 

of Tanglewood. 



V xrdAtj 



MlfSENTlNC SPONSOR 




SAVEUR 

Lux Bond & Green 




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BOSTON COMMON $ 



J.S. BACH "Tonet, ihr Pauken! Erschallet, Trompeten!," BWV 214, Secular 
cantata celebrating the birthday of the Electress Maria Josepha of Saxony 



CHOR 

Tonet ihr Paucken! Erschallet, 

Trompeten! 
Klingende Saiten erfullet die Luft! 
Singet itzt Lieder ihr muntren Poeten! 
Konigin lebe! wird frolich geruft. 
Konigin lebe! dies wiinschet der Sachse. 
Konigin lebe und bliihe und wachse. 

REZITATIV (TENOR), IRENE 
Heut ist der Tag, 
wo jeder sich erfreuen mag. 
Dies ist der frohe Glanz 
der Konigin Geburthsfests-stunden, 
die Polen, Sachsen, und uns ganz 
in groster Lust und Gluck erfunden. 
Mein Olbaum 

kriegt so Saft als fetten Raum. 
Er zeigt noch keine falbe Blatter. 
Mich schreckt kein Sturm, Blitz, 
trube Wolken, diistres Wetter. 

ARIA (SOPRAN), BELLONA 
Blast die wohlgegriffnen Floten, 

dafi Feind, Lilien, Mond errothen! 
Schallt mit jauchzendem Gesang! 
Tont mit eurem Waffenklang! 
Dieses Fest erfodert Freuden, 
die so Geist als Sinnen weiden. 

REZITATIV (SOPRAN), BELLONA 

Mein knallendes Metall, 

der in der Luft erbebenden Kartauen; 

der frohe Schall; 

das angenehme Schauen; 

die Lust, die Sachsen itzt empfindt, 

riihrt vieler Menschen Sinnen. 

Mein schimmerndes Gewehr, 

nebst meiner Sonne gleichen Schritten 

und ihre heldenmafsge Sitten 

vermehren immer mehr und mehr 

des heutgen Tages siilse Freude. 



CHORUS 

Sound, all ye drums now! Resound, 

all ye trumpets! 
Resonant viols, make swell now the air! 
Sing now your anthems, ye vigorous poets! 
Vivat regina! How happy the shout! 
Vivat regina! the hope of the Saxons: 
Long live the Queen, may she flourish 

and prosper! 

RECITATIVE (TENOR), IRENE 

This is the day 

When ev'ryone may find delight. 
This is the shining hour 
To celebrate the Queen's glad birthday, 
Which Poles and Saxons, all of us, 
In greatest joy and bliss revealeth. 
Mine olive 

Tree with sap and richness runs. 
It showeth yet no leaves of yellow; 
I fear no storm, flash, clouds of sadness, 
gloomy weather. 

ARIA (SOPRANO), BELLONA 
Blow the well-tuned, well-played 

flutes now, 
That foe, lilies, moon be blushing, 
Ring triumphantiy with song! 
Let your weapons clearly sound! 
Such a feast demandeth gladness, 
For both mind and spirit nurture. 

RECITATIVE (SOPRANO), 
BELLONA 

My clanging metal's sound 

As in the air the charges burst with 

thunder, 
The joyful peal; 
The spectacle's enchantment; 
The joy which Saxons now perceive 
Doth touch the hearts of many. 
My flashing piece of arms, 
Next these my sons in order marching, 
And their heroic sense of honor 
Increase each moment more and more 
The present day's delightful pleasure. 



Please turn the page quietly. 




■ ■ 



■n 



I 



ARIA (ALT), PALLAS 
Fromme Musen! Meine Glieder! 
Singt nicht langst bekannte Lieder. 
Dieser Tag sei eure Lust! 
Fullt mit Freuden eure Brust! 
Werft so Kiel als Schriften nieder 
und erfreut euch dreimahl wieder. 

REZITATIV (ALT), PALLAS 

Unsre Konigin im Lande, 

die der Himmel zu uns sandte, 

ist der Musen Trost und Schutz. 

Meine Pierinnen wissen, 

die in Ehrfurcht ihren Saum noch kussen, 

vor ihr stetes Wohlergehn 

Dank und Pflicht und Ton stets 

zu erhdhn. 
Ja sie wiinschen, dafi ihr Leben 
moge lange Lust uns geben. 

ARIA (BASS), FAMA 
Kron und Preiss gekronter Damen, 
Konigin! mit deinem Namen 
Full ich diesen Kreis der Welt. 
Was der Tugend stets gefallt, 
und was nur Heldinnen haben, 
sein dir angeborne Gaben. 

REZITATIV (BASS), FAMA 
So dringe in das weite Erdenrund 

mein von der Konigin erfullter Mund! 

Ihr Ruhm soil bis zum Axen 

des schon gestirnten Himmels wachsen. 

Die Konigin der Sachsen und der Polen 

sei stets des Himmels Schutz empfohlen. 

So starkt durch sie der Pol 

so vieler Untertanen langst erwunschtes 

WohL 
So soil die Konigin noch lange bei uns 

hier verweilen; 
und spat ach! spat zum Sternen eilen. 



ARIA (ALTO), PALLAS 
Faithful Muses! My companions! 
Sing not long outmoded anthems! 
May this day bring you delight! 
Fill with gladness now your breast! 
Cast aside both quill and tablets 
And rejoice with thrice the pleasure! 

RECITATIVE (ALTO), PALLAS 

This our Queen o'er all the nation, 

Sent to us as heavens angel, 

Is the Muses' hope and shield. 

My Pierians can do it: 

They, who kiss her very hem in rev rence, 

For her constant happiness 

Thanks and due and sound always 

shall raise. 
Yea, their hope is that her lifetime 
May afford us lasting pleasure. 

ARIA (BASS), FAMA 

Crown and star of crowned ladies, 

great Queen! With thy names honor 

1 will fill the orb of earth. 
All that virtue e'er doth prize, 
Glory of heroic women, 
These are native to thy being. 

RECITATIVE (BASS), FAMA 
Let press forth now throughout the 

earthly ball 
My mouth, which with the queen's 

repute is filled! 
Her fame shall to the axis 
Of yon fair starry heaven prosper, 
The Queen of all the Saxons and 

of Poland 
Be e'er to heaven's care commended. 
Through her will heaven's pole 
Makes firm her many subjects' long 

awaited goal. 
And may the noble Queen yet long 

amongst us here now tarry 
And late, ah, late to heaven hasten. 



10 



CHORUND SOLISTEN 
Bliihet ihr Linden in Sachsen 

wie Zedern! 
Schallet mit Waffen und Wagen und 

Radern! 
Singet ihr Musen! mit volligem Klang! 

Frohliche Stunden! ihr freudigen Zeiten! 
Gonnt uns noch offters die guldenen 

Freuden: 
Konigin, lebe, ja lebe noch lang! 



CHORUS AND SOLOISTS 

Flourish, ye lindens in Sax'ny like cedars! 

Echo with weapons and wagons and 

axles! 
Sing now, ye Muses, make full now 

the sound! 
O joyful hours, o ye joyous ages! 
Grant us more often these golden 

occasions: 
Life to the Queen, yea, yet long may 

she live! 











11 



Slit ii ii 
■III I 

If* 



BOSTON SYMPHONY ORCHESTRA 

Augustsi- September 2 



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Jazz Festival 



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SEPTEMBER 1 SATURDAY, 3PM 



Live taping of Marian McPartland's 
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Kurt Elling with very special friends 
Randy Crawford & Joe Sample 



SEPTEMBER 2 SU N DAY, 1:30PM 



Kevin Mahogany's 
Kansas City Revue 

Featuring the music of Big Joe 
Turner, starring Cyrus Chestnut 
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Featuring the Cesar Camargo 
Mariano-Romero Lubambo 
Duo and special guest from 
Brazil, vocalist Leny Andrade 

The Maria Schneider Orchestra 



SEPTEMBER 2 SUNDAY 



Hank Jones & Roberta Gambarini 
Ahmad Jamai & Jimmy Heath 



Jazz Cafe Schedule 



Back by popular demand, the 
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exciting new artists prior to each 
show in a relaxed cabaret-style set- 
ting (free of charge with ticket to 
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FRI AUG 31 630PM Aruan Ortiz 
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SUN SEPT 2 12noon 

Sachal Vasandani 
SUN SEPT 2 5PM 

The Edmar Castaneda Trio 
SUN SEPT 2 6:30PM Chiara Civello 



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12 




Tanglewood 



Wednesday, July 25, at 8:30 

Florence Gould Auditorium, Seiji Ozawa Hall 

NETHERLANDS BACH SOCIETY 
JOS VAN VELDHOVEN, conductor 

MARIA KEOHANE, soprano 
JOHANNETTE ZOMER, soprano 
ROBIN BLAZE, alto 
CHARLES DANIELS, tenor 
PETER HARVEY, bass 




SEIJI OZAWA HALL 



J.S. BACH 



Mass in B minor, BWV 232 

Missa 
Kyrie 
Gloria 



INTERMISSION 



Symbolum Nicenum (Credo) 



PAUSE 



Sanctus 

Osanna, Benedictus, Agnus Dei, 
et Dona nobis pacem 

Osanna-Benedictus-Osanna 

Agnus Dei 

Dona nobis pacem 



Please note that text and translation are being distributed separately. 



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Steinway and Sons Pianos, selected exclusively for Tanglewood 

Special thanks to Delta Air Lines and Commonwealth Worldwide Chauffeured Transportation 



13 






ABOUT TONIGHT'S PERFORMANCE 

Though audiences in the United States are accustomed to hearing the big works 
of J.S. Bach (e.g., the St. Matthew Passion, the St. John Passion, and the Mass in 
B minor) performed by large orchestras and choruses, the situation particularly 
in Europe is in fact quite different, where performances by smaller, historically 
informed period ensembles more attuned to the practice of Bach's own time have 
become a norm. Tonight's performance of the B minor Mass offers a very specific 
instance of the latter approach. 

In discussing his approach to the B minor Mass, Jos van Veldhoven, conductor 
of the Netherlands Bach Society, has observed: "We know that Bach himself always 

used small ensembles: small groups of singers, not many players in the orchestra 

What was very essential in his time was that one of the three or four singers who 
sang a part in the chorus, for example, was also the soloist in the arias; and that is 
how we are performing the B minor Mass this year. The soloists sing also in all 
the pieces we now call 'choruses,' and now and then a few singers join them in 
making a tutti. You can't say anymore what is a chorus and what is a solo piece: it 
is completely different from what people will find when they have a look in the 
vocal score — a sort of new way of performing Bach's music, where you have more 

or less the same structure in the singers' group as you have in the orchestra We 

can't find the answer [to what Bach had in mind] in Bach's own time because he 
never performed the B minor Mass himself. . . so this gives you a certain freedom 
in making your own decisions [to create] a very flexible and contrasting sound 
which is all the time very expressive, and very surprising, because you don't know 
where the changes will be and what the texture will be." 

Thus tonight's performance gives listeners an opportunity to experience Bach's 
B minor Mass in a new way, one that not only permits the performers a musical/ 
rhetorical flexibility, and an immediacy of expression, that would be impossible 
with larger forces, but allows the audience to experience this astonishing work in 
a manner that is as fresh, revealing, and unexpected as it is new. 





14 



NOTES ON THE PROGRAM . 

The various sections of the B minor Mass by Johann Sebastian Bach (1685-1750) were 
composed over an extended period of time and compiled into a single manuscript only 
near the end of Bach's life, in 1748-49, as discussed below; there is no record of a com- 
plete performance in the composer's lifetime. The score calls for a five-part vocal 
ensemble (soprano I and II, alto, tenor, and bass) for most of the work, four voices in 
a few movements, six in the Sanctus, and eight (i.e., double chorus) in the Osanna, plus 
an orchestra of two transverse flutes, three oboes, two oboes d'amore, two bassoons, 
three trumpets, one horn (specified as "corno da caccia"), timpani, strings, and continuo. 

GENERAL BACKGROUND 

Present evidence suggests that J.S. Bach's Mass in B minor as we know it dates from 
the years 1748-49, at which time Bach compiled into a single manuscript an extended 
musical setting of the entire Ordinary of the Roman Catholic Mass. This is not to say, 
however, that he composed his entire setting of the Mass at that time; in fact, we know 

that several portions of the work date from earlier periods of 
his life. The Kyrie and Gloria were sent by Bach to Dresden 
in July 1733 as part of his application for the position of court 
composer there. Though there is an early version of the Credo 
(or Symbolum Nicenum) from the early 1740s, the version in 
the B minor Mass dates from Bach's last years, the "Et incar- 
natus" being perhaps the last vocal composition he ever fin- 
ished. The Sanctus — the third main section of the full Mass 
score — derives from a setting by Bach for a 1724 Christmas 
service; this is the oldest section of the B minor Mass. And 
the final division of the score — the Osanna, Benedictus, 
Agnus Dei, and Dona nobis pacem — represents a combination of, on the one hand, 
freshly composed music and, on the other, music "parodied" or reworked from pieces 
Bach had written earlier in his lifetime. In addition, various portions of the score's first 
three divisions were adapted from single movements of cantatas and, in certain instances, 
perhaps even from purely instrumental works. 

So, again, the compilation by Bach of the entire Mass setting does not mean that he 
actually composed the whole work at one time. Nor does it suggest that he meant it to 
be performed as a whole in the course of the church service; its length and elaborate 
nature seem to argue against that, in which respect it is often compared to Beethoven's 
Miss a Solemnis. 

Another line of argument against viewing Bach's work as one meant for unified 
performance derives from certain differences between the Roman Catholic Mass usage 
and the Lutheran Church liturgy of Bach's time. For one thing, the Kyrie-Gloria corn- 





In consideration of the performers and those around you, cellular phones, pagers, 
and watch alarms should be switched off during the concert. 

Please do not take pictures during the concert. Flashes, in particular, are distracting to 
the performers and other audience members. 

Note that the use of audio or video recording equipment during performances in the 
Koussevitzky Music Shed or Ozawa Hall is prohibited. 

15 







plex (the "Missa") is all that would have been set for a typical Lutheran service in Bach's 
own church. Other portions of the Mass — the Symbolum Nicenum and Sanctus, for 
example — would only have been given an elaborate setting for voices and instruments 
on a special occasion. In addition, the Osanna and Benedictus, which follow the Sanctus 
in the Roman Catholic service, have no corresponding place in Lutheran usage. (In Bach's 
manuscript, the Osanna and Benedictus begin the fourth and final division of the score 
and so are separated from the Sanctus, which itself makes up the score's third section.) 

As all of this might suggest, historical, liturgical, and musicological considerations 
have led to several theories about the origin and intent of Bach's B minor Mass. One 
theory views the work merely as a collection of pieces that happen to set individual por- 
tions of the service to music. Another theory holds that Bach did ultimately mean to 
assemble a complete musical setting of the Roman Catholic Mass Ordinary, as so many 
composers had done before him. (From this point of view, his division of the score may 
be no more than an indication of the regrouping of the choral and instrumental forces 
within the piece.) There is also the view that Bach, near the end of his life, was con- 
cerned with leaving a legacy that reflected the state of his art and therefore fashioned 
several works — the Mass in B minor, the Art of Fugue, and A Musical Offering among 
them — which served to codify the musical styles in which he wrote. And there is no 
doubt that his great collection of Mass movements, with its music for solo voice, chorus, 
and orchestra in a variety of combinations and relationships, achieves this purpose. In 
any event, as Christoph Wolff observes in the 2001 New Grove Dictionary of Music 
and Musicians, "In assembling the whole score in 1748-9. . . the composer undoubtedly 
had the intention of making it a comprehensive work of consistent quality." 

Bach never heard a complete performance of his Mass in B minor; in fact, he never 
gave the collective work an all-embracing title. We know that Haydn owned a copy of 
the score, and that Beethoven twice tried to get one. A partial performance of the Credo 




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16 



(through the "Et resurrexit," with an orchestra lacking trumpets and oboes) took place 
in Berlin in 1828. The first complete performance of the Credo took place in 1786, in 
Hamburg, in a benefit concert under the direction of C.P.E. Bach, into whose posses- 
sion the autograph manuscript came following his father's death. The Berlin Singaka- 
demie under Carl Friedrich Rungenhagen performed the Kyrie and Gloria in 1834, and 
the rest of the work the following year. Already, well before this, in the year from autumn 
1811 to autumn 1812, the Singakademie under Carl Friedrich Zelter, Rungenhagen s 
predecessor, had already sung through the Mass without performing it, Zelter describ- 
ing it in a letter as "probably the greatest musical work of art that the world has ever 
seen." That it took some time for the Mass to enter the repertory is not surprising, 
given the genesis of the work itself, and since it was only Mendelssohn's 1829 perform- 
ance of Bach's St. Matthew Passion with the Berlin Singakademie that spurred broad 
general interest in the composer's music. The first complete performance for which 
there is firm evidence took place in Leipzig, in 1859. The work was first given the title 
"Die hohe Messe" — the High Mass — in 1845, connoting comparison to the Missa Solemnis 
of Beethoven. And the title Mass in B minor — a title used only after Bach's death — may 
even be something of a misnomer, since the predominant key with respect to both fre- 
quency of appearance and resolution of large-scale harmonic tension is clearly D major. 

I. MISSA (KYRIE AND GLORIA) 

The Missa calls for orchestra (strings, flutes, oboes and oboes d'amore, bassoons, trum- 
pets, and drums), five-part vocal ensemble (two soprano, alto, tenor, and bass), and con- 
tinuo. 

The first Kyrie, in B minor, suggests the variety of relationships between voices and 
orchestra to be exploited during the course of the piece. The theme is introduced first 
by the orchestra alone, and then treated fugally by the voices against a counterpoint in 
the oboes d'amore. This section leads to a filling out of the texture in which the orchestra 
both shares in and plays against the vocal material. The Christe, in D major, is a setting 
for two sopranos, violins, and continuo, in which simultaneous declamation of the 
words "Christe eleison" by the vocalists is juxtaposed with florid, contrapuntal embellish- 
ment. The second Kyrie, in F-sharp minor, is in strict style, for four-part vocal ensemble 
with the orchestra restricted to doubling the vocal entries. Whereas the theme of the 
first Kyrie was expansive and rhythmically active, the theme of the second is compara- 
tively brief and proceeds in slower note values, falling back to its starting tonic note very 
soon after it has begun. 

The D major Gloria restores the vocal ensemble to its original five parts. The setting 
of the words "Gloria in excelsis Deo" is suitably festive, punctuated by trumpets and 
drums, which were silent during the Kyrie. Another difference in scoring here is that the 
brighter oboes replace the Kyrie's oboes d'amore. A plaintive setting of "Et in terra pax" 
provides contrasting material. The "Laudamus te," in A major, is set for soprano, obbli- 
gato violin, strings, and continuo. This is the first of the score's combinations of solo 
voice with obbligato accompaniment and, like those that come later, is noteworthy for 
the interweaving of ritornello (instrumental refrain) and vocal material. The "Gratias 
agimus tibi" (D major) is another fugal setting in strict style, with full orchestra dou- 
bling four-part chorus. The presence of trumpets and drums affords an expanse and 
weight that help this section close out the first part of the Gloria as a whole. 

Bach's score suggests that the remaining sections of the Gloria are to be considered 
as a single unit, each moving directly into the next. The "Domine Deus" (G major) is 
set for soprano, tenor, obbligato flute, strings, and continuo. In the main part of the 
movement the voices declaim different phrases of the text simultaneously. After the 



17 



completion of what seems to be the final ritornello, there is an extension to a B major 
close, and then an abrupt change to the B minor of the "Qui tollis" setting for five-part 
vocal ensemble and string orchestra, during which two flutes provide a cushion of 
accompaniment derived from that of the preceding duet. The next two sections of the 
text again pair a single voice with an obbligato instrument of comparable range: the 
"Qui sedes," for alto, obbligato oboe d'amore, strings, and continuo, exploits the rela- 
tionship between B minor and D major that is so characteristic of the score as a whole; 
the "Quoniam tu solus sanctus" (D major) pairs the bass soloist with obbligato horn, 
accompanied by a pair of bassoons and continuo. The Gloria s closing section ("Cum 
sancto Spiritu," D major) restores the full orchestra and five-part vocal ensemble. Like 
the opening, this is a festive, concerted movement punctuated by trumpets and drums. 

II. SYMBOLUM NICENUM (CREDO) 

The Symbolum Nicenum calls for the same performing forces as the Missa. 

One of the most striking aspects of the Credo is its overall structure. It begins with a 
pair of movements for vocal ensemble followed by a movement for soloists (soprano and 
alto). Then, the three central portions of the text are set for vocal ensemble and orches- 
tra. Finally, the scheme of the beginning is reversed: a setting for vocal soloist (bass) is 
followed by a pair of ensemble movements. The effect is that of a mirror image, with 
the three central movements as the turning point. Of the Credo's nine sections, four 
were adapted from earlier works. 

The opening "Credo in unum Deum" derives its theme from liturgical chant and its 
"walking bass" from the realm of academic counterpoint. The movement is a strict 
fugue in seven parts — five-part vocal ensemble, first violins, and second violins — accom- 
panied only by continuo. Just before the end, the bass declaims the theme cantus firmus- 
like, in slow note values. The following movement for four-part vocal ensemble, strings, 




18 



oboes, trumpets, and drums ("Patrem omnipotentem...," D major) offers an imitative 
treatment of its theme, punctuated by shouts of "Credo in unum Deum."The "Et in 
unum Deum" (G major) is a duet for soprano and alto with paired oboes d'amore, 
accompanied by string orchestra and continue 

Then come the Credo's three central movements: the "Et incarnatus est" (B minor) 
with its throbbing bass, mournful violin accompaniment, and dirgelike vocal parts; the 
"Crucifixus" (E minor) with its ostinato bass, spare vocal and orchestral writing, and 
transcendent G major close; and the joyful "Et resurrexit" (D major) for full orchestra 
and voices. This is followed by the "Et in spiritum sanctum Dominum" (A major) for 
bass and paired oboes d'amore (the corresponding movement for soprano and alto earlier 
in the overall scheme of the Credo also employed oboes d'amore). 

The "Confiteor" (F-sharp minor) is for five-part vocal ensemble and continuo. As 
in the opening "Credo in unum Deum," a theme derived from chant is set fugally 
against a "walking bass" and is treated like a cantus firmus near the end. The two halves 
of the text are given contrasting musical treatment at the outset and then combined 
during the course of the movement. A slowing of the basic motion coupled with chro- 
maticism suggestive of a late Renaissance madrigal creates an aura of mystery at the 
introduction of the words "Et exspecto resurrectionem mortuorum," and this passage 
unfolds into the bright D major of the Credo's final movement for voices and orchestra. 
The music of this section once more explores the relationship between vocal and orches- 
tral forces along the way, with a concerted rush to the final "Amen." 

III. SANCTUS 

The D major Sanctus requires a significant regrouping of the performing forces, calling 
for six voice parts (two each of soprano and alto, plus tenor and bass), strings, oboes, and 
trumpets and drums. 

The weight of the first half of the movement derives from the contrast of sonorities 
available within the massed forces: strings against oboes against trumpets and drums 
against divided voices, all sounding simultaneously. The second half of the movement is 
fugal and, like earlier portions of the score, sets out vocal and orchestral material in an 
energetic succession of shifting relationships. 

Despite the division of the Sanctus from the Credo in the full score of the Mass, its 
weight and breadth serve to release much of the energy and tension accumulated during 
the course of the Credo's succession of short movements. From this point of view, the 
Sanctus represents the climax of the B minor Mass as a whole, given its position within 
the piece and the nature of the movements that follow. 

IV. OSANNA, BENEDICTUS, AGNUS DEI, ET DONA NOBIS PACEM 
The Osanna (D major) calls for another regrouping of forces and is set for two four- 
voice ensembles and orchestra. It closes with an extended passage for orchestra alone, 
thereby leaving any sense of finality to the massed vocal and instrumental forces of the 
Dona nobis pacem. 

The B minor Benedictus (which is followed by a repetition of the Osanna) and the 
Agnus Dei in G minor are given comparatively spare settings, in contrast to the earlier 
movements for vocal soloists. The Benedictus is a setting for tenor, continuo, and 
unspecified obbligato instrument (based on its range, the part is most frequentiy played 
on solo flute but is sometimes taken by violin). The Agnus Dei calls for alto, violins, and 
continuo. 

The Mass ends with a setting of the words "Dona nobis pacem" for voices and or- 
chestra. Although the music is lifted in its entirety from the "Gratias agimus tibi" of 
the Gloria, there is a difference. In the Gloria, the D major of the "Gratias agimus tibi" 

19 



had been preceded by the A major of the "Laudamus te." Here, the Dona nobis pacem's 
D major stands in sharp contrast to the F- sharp minor of the immediately preceding 
Agnus Dei. The "Gratias agimus" had closed a comparatively brief segment of the Gloria 
at an early point in the work as a whole. Here, the Dona nobis pacem holds its own 
weight both within the final division of the score and at the conclusion of the Mass. 
Finally, in harking back to the earlier movement, the Dona nobis pacem serves as 
reminder of all that has passed in the two hours since the music began. 

—Marc Mandel 
Marc Mandel is Director of Program Publications of the Boston Symphony Orchestra. 



ARTISTS 

The Netherlands Bach Society 

The Netherlands Bach 
Society has maintained 
its status as one of the 
world's preeminent early 
music ensembles for 
more than eighty years. 
The ensemble's 2006-07 
season under artistic 
director and principal 
conductor Jos van Veld- 

hoven includes the Society's second-ever tour of North America with Bach's B minor Mass. 

Further engagements include performances of Karl Heinrich Graun's celebrated passion 




NL: A Season of Dutch Arts in the Berkshires 

-— ^""""j The performances by the Netherlands Bach Society in Ozawa Hall 

^ ! on July 25 and 26; by conductor Edo de Waart and the Boston Sym- 

^ | EjS| phony Orchestra in the Koussevitzky Music Shed on August 4 and 5; 
^"^v-J^^ and by the Orchestra of the Eighteenth Century in Ozawa Hall on 
August 21 and 22 are part of "NL: A Season of Dutch Arts in the Berkshires" 

A summer-long showcase celebrating the arts and culture of The Netherlands, 
"NL: A Season of Dutch Arts in the Berkshires" takes place June through August 2007 
in the picturesque, culturally rich Berkshires region of Massachusetts. The broad range 
of The Netherlands's vibrant artistic culture, including contemporary and classical 
music, visual arts, dance, theater, film, lecture series, and more will be presented. 
MASS MoCA, Tanglewood, Bang on a Can, Jacob's Pillow, and the Clark Art Insti- 
tute are among the arts organizations that have selected and are collaborating with 
leading artists from The Netherlands. 

"NL: A Season of Dutch Arts in the Berkshires" received initial funding from the 
Netherlands Culture Fund and generous support from the Fund for Visual Arts, Design 
and Architecture. 

The showcase is coordinated by the Department of Press and Cultural Affairs at 
the Consulate General of The Netherlands in New York and the Service Centre for 
International Cultural Activities (SICA) in Amsterdam. 



20 



cantata Der Todjesu in Utrecht and, throughout the Netherlands, performances of Bach's 
St. Matthew Passion, the work with which the Society made its debut in 1922. Since that 
date, the Society has performed the Passion annually to Dutch audiences that reach upwards 
of 12,000, the events becoming a much-loved fixture of the country's springtime musical fare. 
The 2007 tour follows the Society's triumphant 2004 North American debut performances. 
Though the Society is primarily a Dutch institution, in addition to North America it has 
made successful concert tours throughout Europe and Asia, reaching audiences in France, 
Italy, Spain, Portugal, Germany, Great Britain, Poland, Norway, Sweden, and Japan. The 
Society is cherished across geographic bounds for its fresh interpretations and wide-ranging 
programming that encompasses both landmark Baroque works by such giants as Bach and 
Buxtehude and the smaller-scale, lesser-known works of their predecessors and contempo- 
raries. Artistic Director Jos van Veldhoven and the ensemble pursue ongoing musical schol- 
arship which has generated many first-ever present-day performances of compelling works 
that otherwise would have continued to repose in dusty archives. The Netherlands Bach 
Society gives fifty concerts a year, half of which are conducted by Mr. van Veldhoven. The 
remainder are led by some of the most highly esteemed early-music exponents, including 
Gustav Leonhardt, Ton Koopman, Paul McCreesh, Jos van Immerseel, Philippe Herreweghe, 
Hermann Max, Rene Jacobs, Frans Briiggen, Andrew Parott, Monica Huggett, Roger Norring- 
ton, Ivan Fischer, Paul van Nevel, Marcus Creed, and Masaaki Suzuki. In addition to its 
thriving performance schedule, the Society boasts a discography of a dozen recordings with 
Channel Classics Records; the innovative series, which has been universally praised by critics, 
includes works by little-known Baroque composers of Dutch and Italian origin as well as great 
works by Bach and Buxtehude, including an acclaimed new recording of Bach's B minor Mass. 




Jos van Veldhoven 

tfc^l Jos van Veldhoven studied musicology at the Rijksuniversiteit of Utrecht, 
and choral and orchestral conducting at the Royal Conservatory, the Hague. 

He has been artistic director of the Netherlands Bach Society since 1983. 

In this capacity he regularly gives performances at home and abroad of the 
y4 jL major works of Johann Sebastian Bach, as well as Bach's predecessors and 

contemporaries. In addition, Mr. van Veldhoven has been the director 

since 1976 of the Utrechts Barok Consort, which he himself founded. 

With his ensembles he has made a great number of national and interna- 
tional radio, television, and compact disc recordings, and he has appeared in festivals in the 
Netherlands, many countries in Western Europe, the United States, and Japan. Jos van 
Veldhoven is a regular guest artist with international orchestras including Das Orchester der 
Beethovenhalle Bonn, the Tokyo Philharmonic, the Telemann Chamber Orchestra, and the 
Essener Philharmoniker. Together with director Dietrich Hilsdorf, Jos van Veldhoven has 
been working since 2001 on a cycle of staged Handel oratorios at the Bonn Opera. He also 
appears in his native country as a guest conductor, including appearances with Holland 
Symfonia and Opera Zuid. In previous years, Mr. van Veldhoven has attracted frequent 
attention with performances of "new" repertoire within the realm of early music. Noteworthy 
among them were performances of oratorios by Telemann and Graun, Vespers by Gastoldi, 
Netherlands repertoire of the Golden Age, and reconstructions of Bach's St. Mark Passion as 
well as the so-called Kothener Trauer-Music and many unknown 17th-century musical dia- 
logues. In addition, Jos van Veldhoven has conducted a great many contemporary premieres 
of baroque operas by composers including Mattheson, Keiser, Andrea and Giovanni Bononcini, 
Legrenzi, Conti, and Scarlatti. Jos van Veldhoven is professor of choral conducting at the 
Amsterdam Conservatory and the Royal Conservatory, The Hague. 



21 



ImSmi 



J* 




Picnics on the lawn, Tanglewood Music Center recitals in 
Ozawa Hall, lounging in the Tent Club, wandering the 
grounds, and of course, listening to the Boston Symphony 
Orchestra and Boston Pops in the Shed. 

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22 




Maria Keohane 

Maria Keohane is a Swedish soprano whose repertoire spans a wide spec- 
trum of music styles from baroque to contemporary, including chamber 
music, opera, and oratorios. She has performed in Claudio Monteverdi's 
II ritorno d'Ulisse in patria (Melanto, Giunone) with Gothenburg Theatre, 
Peri's Euridice (Proserpina/L'altra Ninfa) with Drottningholm's Royal 
Theatre in Stockholm, and in Verdi's Don Carlo (Tebaldo) with the Royal 
Danish Theatre in Copenhagen. Ms. Keohane is frequently engaged as an 
oratorio soloist and has performed with several well-known conductors, 
such as Eric Ericsson, Nicholas McGegan, Andrew Parrot, Anders Ohrwall, and Christopher 
Warren-Green. She has given several concerts with world-famous Baroque trumpeter Niklas 
Eklund; together they have issued a CD of Italian Baroque music, "The Art of the Baroque 
Trumpet," volume 5, on Naxos. At the International Van Wassenaer Concours in 2000 she 
received an award as the most promising individual musician, and she has also been honored 
by the Royal Swedish Academy of Music. Outside of Sweden she has performed in Italy, 
France, the Republic of Ukraine, Lebanon, the United States, and New Zealand. Ms. Keohane 
completed her studies at the Royal Opera Academy in Copenhagen in 2003. Plans include 
more recordings for Naxos, with music by Hasse, Boccherini, and Kraus. 

Johannette Zomer 

Dutch soprano Johannette Zomer, called "a new voice to watch" by Gramo- 
phone magazine, began her studies at the Sweelinck Conservatorium 
Amsterdam in 1990 with Charles van Tassel, after having worked as a 
microbiology analyst for several years. In June 1997 she was awarded her 
performance diploma. Her present coach is Diane Forlano, in London. 
Her repertoire, as reflected in her discography, ranges from medieval music 
{Cantigas de Santa Maria) through music of the Baroque and Classical 
eras, including opera, Schubert Lieder, French Romanticism (Faure's 
Requiem), and contemporary music. Ms. Zomer s concert appearances are many and various. 
She has worked with Baroque specialists such as Philippe Herreweghe, Ton Koopman, Frans 
Briiggen, Rene Jacobs, Reinard Goebel, and Paul McCreesh, as well as with such conductors 
as Kent Nagano, Daniel Harding, Valery Gergiev, Reinbert de Leeuw, and Peter Eorvos. She 
regularly gives recitals accompanied by fortepiano specialist Arthur Schoonderwoerd. She is 
also a member of the early music ensembles Compania Vocale and Antequera, with whom 
she sings Napolitan/Spanish Baroque and Medieval cantigas. In October 1996 she made her 
opera debut as Tebaldo in Verdi's Don Carlo with the Nationale Reisopera (the Dutch Touring 
Opera Company). Since then she has made regular appearances in roles including Belinda, 
Pamina, La Musica, Euridice, Dalinda, and Ilia, and also as Amanda in Ligeti's Le Grand 
Macabre. 




Robin Blaze 

Established in the front rank of interpreters of Purcell, Bach and Handel, 
Robin Blaze pursues a busy schedule of engagements in Europe, South 
America, North America, Japan, and Australia. He read music at Magdalen 
College, Oxford, and won a post-graduate scholarship to the Royal College 
of Music, where he trained with assistance from the Countess of Munster 
Trust and is now a professor of vocal studies. He works with most of the 
distinguished conductors in the early music field, including Christophers, 
Cleobury, Gardiner, Herreweghe, Hickox, Hogwood, Jacobs, King, Koop- 
man, Kraemer, Leonhardt, McCreesh, McGegan, Mackerras, Pinnock, and Suzuki; has visited 
festivals in Ambronay, Beaune, Boston, Edinburgh, Halle, Iceland, Jerusalem, Innsbruck, 
Karlsruhe, Leipzig, Lucerne, Saintes, and Utrecht, and appears regularly with the Academy 
of Ancient Music, Bach Collegium Japan, Collegium Vocale, the English Concert, Gabrieli 
Consort, King's Consort, Orchestra of the Age of Enlightenment, RI AS Kammerchor, and 




23 



The Sixteen. Other engagements have included the National Symphony Orchestra in 
Washington, the St. Paul Chamber Orchestra, La Chapelle Royale, the City of London 
Sinfonia, Netherlands Radio Philharmonic, Royal Flanders Philharmonic, BBC Philharmonic, 
the Halle Orchestra, Royal Philharmonic Orchestra, Northern Sinfonia, Scottish Chamber 
Orchestra, Tafelmusik, Amsterdam Baroque Orchestra, the Royal Liverpool Philharmonic 
Orchestra, and the Berlin Philharmonic, as well as opera engagements at the Royal Opera, 
Glyndebourne Festival Opera, English National Opera, Glyndebourne Touring Opera, and 
the Gottingen Handel Festival. As a recording artist, he enjoys fruitful relationships with 
BIS and Hyperion records, and has recorded Thomas Ades's The Lover in Winter for EMI. 

Charles Daniels 

Tenor Charles Daniels's repertoire extends 1150 years from the ninth cen- 
tury to the present day. He received his musical training at King's College, 
Cambridge, and the Royal College of Music in London, where he studied 
under Edward Brooks. His more than sixty recordings as a soloist include 
Handel's Messiah with the Gabrieli Consort, Dowland songs, Handel's 
Alexander Balus with the King's Consort, Schutz's Christmas Story, Haydn's 
St. Cecilia Mass with the Gulbenkian Choir and Orchestra, Bach's Easter 
Oratorio with the Taverner Consort, and Handel occasional songs with 
Emma Kirkby. He has recorded more than twenty discs of Purcell's music, mostly with The 
King's Consort. Operatic roles have included Le Dieu de Sommeil in Lully's Atys for the 
Opera de Paris and a leading role in Purcell's Fairy Queen at the Aix-en-Provence Festival. 
Concert engagements have included Monteverdi's Orfeo with the Toronto Consort, the 
Evangelist in Bach's St. John Passion with the Academy of Ancient Music, and various Handel 
oratorios, including Esther, Joshua, and Messiah. Recent performances have included Purcell's 
Odes with the Orchestra of the Age of Enlightenment under Gustav Leonhardt and Bach's 
St. Matthew Passion and Mass in B minor on tour with the Netherlands Bach Society. His 
repertoire also includes more recent works such as Stravinsky's Cantata and Finzi's Dies 
Natalis. 





Peter Harvey 

Bass Peter Harvey studied at Magdalen College, Oxford, and then at the 
Guildhall School of Music and Drama in London. His broad repertoire 
includes works from the early Baroque to contemporary composers, 
although he is principally known through his performances as soloist with 
ensembles specializing in early music, including the English Baroque 
Soloists, the Gabrieli Consort, and the King's Consort. He is frequently 
invited to the European continent by such groups as the Collegium Vbcale 
of Ghent and the Netherlands Bach Society, and he has had the honor of 
singing the St. John Passion with the choir of St. Thomas Church, Leipzig ("Bach's choir"), 
on their first visit to England, and subsequently in Leipzig for a Good Friday performance. 
Though Mr. Harvey's more than one hundred solo recordings cover a wide variety of works 
from the seventeenth century to the present day, it is the music of J.S. Bach that forms the 
core of his repertoire in performance and on recordings. Among his recordings are the canta- 
ta Ich habe genug for Deutsche Grammophon and a solo-voices version of the St. Matthew 
Passion with the Gabrieli Consort, in which he sings the role of Christus and the arias. 
Recent career highlights include a BBC Proms concert of Purcell's The Fairy Queen and 
Handel's Athalia in Madrid, both with the Gabrieli Consort; the St. John Passion with the 
Orchestra of the Age of Enlightenment, and the Christmas Oratorio with the Amsterdam 
Baroque Orchestra. Mr. Harvey is a visiting professor at the Royal College of Music, London. 



24 



Netherlands Bach Society 


Vocal Ensemble 


Soprano I 


Alto 


Marieke Steenhoek 


Daniel Lager 


Sarajaggi 


Elena Pozhidaeva 


Soprano II 


Tenor 


Lauren Armishaw 


Immo Schroder 


Klaartje van Veldhoven 


Simon Wall 


Netherlands Bach Society 


Orchestra 


Violin I 


Contrabass 


Johannes Leertouwer 


Robert Franenberg 


Sayuri Yamagata 




Anneke van Haaften 


Flute 




Rachel Brown 


Violin II 


Doretthe Janssens 


Paulien Kostense 




Pieter Affourtit 


Oboe 




Washington McClain 


Viola 


Abigail Graham 


Staas Swierstra 


Sophie Rebreyend 


Cello 


Bassoon 


Lucia Swarts 


Jane Gower 




Benny Aghassi 



The Netherlands Bach Society 

Daily Board 

Aart van Bochove, chairman 

Drs. Kees Beuving 

Drs. Henk van Wijk 

Peter Bree 

General Board 

Drs. Anja van den Einden 

Drs. Harry Hendriks 

Drs. Kees Storm 

Drs. John van Nuenen 



Bass 

Matthew Baker 
Donald Bentvelsen 



Horn 

Vaclav Luks 

Trumpet 
P.O. Lindeke 
Andreas Bengtsson 
Mark Geelen 

Timpani 

Alan Emslie 

Organ/Harpsichord 

Siebe Henstra 
Pieter Jan Belder 



Staff 

Maria Hansen, managing director 

Erik van Lith, production manager 

Hans Schimmel, Harold Kerkhof 

Marketing 8c PR 

The Netherlands Bach Society 

P.O. Box 295 

3500 AG Utrecht 

The Netherlands 

T + 31 (0)30 251 34 13 

F + 31 (0)30 251 16 39 

E info@bachvereniging.nl 

www.bachvereniging.nl 




25 




Tanglewood 




SEIJI OZAWA HALL 



Thursday, July 26, at 8:30 

Florence Gould Auditorium, Seiji Ozawa Hall 

NETHERLANDS BACH SOCIETY 
JOS VAN VELDHOVEN, conductor 

JOHANNETTE ZOMER, soprano 
ROBIN BLAZE, alto 
CHARLES DANIELS, tenor 
PETER HARVEY, bass 

JOHANNES LEERTOUWER, violin 

ALL-BACH PROGRAM 

A uf, schmetternde Tone der muntern Trompeten, BWV 207a, 
Secular cantata ("Dramma per musica") for the name day of 
King Augustus III, Elector of Saxony 

CHORUS: Auf, schmetternde Tone der muntern Trompeten 
RECITATIVE (Tenor): Die stille Pleisse spielt mit ihren kleinen Wellen 
ARIA (Tenor): Augustus' Namenstages Schimmer 
RECITATIVE (Soprano, Bass): Augustus' Wohl ist der treuen 

Sachsen Wohlergehn 
DUET (Soprano, Bass): Mich kann die siisse Ruhe laben 
RECITATIVE (Alto): Augustus schiitz die frohen Felder 
ARIA (Alto): Preiset, spate Folgezeiten 

RECITATIVE (Soprano, Alto, Tenor, Bass): Ihr Frohlichen, herbei! 
CHORUS: August lebe, lebe Konig! 

Violin Concerto No. 2 in E, BWV 1042 

Allegro 
Adagio 
Allegro assai 



INTERMISSION 



In consideration of the performers and those around you, cellular phones, pagers, 
and watch alarms should be switched off during the concert. 

Please do not take pictures during the concert. Flashes, in particular, are distracting to 
the performers and other audience members. 

Note that the use of audio or video recording equipment during performances in the 
Koussevitzky Music Shed or Ozawa Hall is prohibited. 

26 



Tonet, ihr Pauken! Erschallet, Trompeten!, BWV 214, 
Secular cantata ("Dramma per musica") celebrating the 
birthday of the Electress Maria Josepha of Saxony 

CHORUS: Tonet, ihr Pauken! Erschallet, Trompeten! 
RECITATIVE (Tenor), IRENE: Heut ist der Tag 
ARIA (Soprano), BELLONA: Blast die wohlgegriffnen Floten 
RECITATIVE (Soprano), BELLONA: Mein knallendes Metall 
ARIA (Alto), PALLAS: Fromme Musen! Meine Glieder! 
RECITATIVE (Alto), PALLAS: Unsre Konigen im Lande 
ARIA (Bass), FAMA: Kron und Preiss gekronter Damen 
RECITATIVE (Bass), FAMA: So dringe in das weite Erdenrund 
CHORUS AND SOLOISTS: Bliihet ihr Linden in Sachsen wie Zedern! 



Please note that texts and translations are being distributed separately. 



State Street Global Advisors is proud to sponsor the 2007 Tanglewood season. 



Steinway and Sons Pianos, selected exclusively for Tanglewood 

Special thanks to Delta Air Lines and Commonwealth Worldwide Chauffeured Transportation 




NOTES ON THE PROGRAM 

Tonight's concert by the Netherlands Bach Society promises a number of happy sur- 
prises. You may be thinking you've never heard — or even heard of — the two cantatas on 
the program, but, in fact, they share a striking feature: each contains music that Johann 

Sebastian Bach (1685-1750) reworked either from or for 
works that you probably do know. Even the familiar violin 
concerto being performed this evening has something of a 
multi-functional history, in that Bach later turned it into a 
harpsichord concerto. 

This sort of self-borrowing — nowadays, we'd probably call 
it recycling — of one's own (or another composer's) music was 
common practice in the Baroque period, though it may seem 
strange to us today, conditioned by the 19th-century concept 
of originality as an ultimate virtue and the 20th-century con- 
cept of plagiarism as an ultimate vice. But in the seventeenth 
and eighteenth centuries, when music was often designed for a specific occasion and, 
unless recast, would never be heard again, it made good sense for composers to reuse 
hard-won musical material in a new context. 




27 



Cantata BWV 207a, "Auf, schmetternde Tone der muntern Trompeten" 

When Friedrich August II succeeded his father as Elector and Duke of Saxony in 1733 
(and, from 1734, as King August III of Poland), Bach, who was actively seeking the 
title of Saxon court composer, did all he could to curry favor with the new, arts-loving 
potentate. In 1733 he presented him with the Kyrie and Gloria of what would later 
become the B minor Mass, and he began composing a remarkable series of secular can- 
tatas in honor of the Saxon ruling house. (His efforts finally paid off in November 1736, 
when the royal elector appointed Bach his Hof compositeur.) 

For Friedrich August's name day, August 3, 1735, Bach needed to come up with a 
fitting tribute to his patron, probably within a matter of days: he was a very busy man, 
also responsible for the music of the four principal Leipzig churches as well as director 
of the city's collegium musicum, an association of semi-professional musicians, university 
students, and music lovers that met regularly at Zimmermann's coffee house and in 
winter gave public concerts there on Friday evenings. And so it was probably, at least in 
part, the pressure of time that caused Bach to turn to the music of an earlier work for 
Friedrich August's name day cantata: the serenade BWV 207 that he'd composed in 
1726 for a new law professor's inaugural lecture at Leipzig University, of which Bach 



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Julianne Boyd, Artistic P" 

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WEST SIDE STORY 
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irii[wir^j»»ii^«,i^,^'T7iirr?T7ii 



Entire original production directed and - 

choreographed by Jerome Robbins 

Choreographed by Joshua Bergasse 
Directed by Julianne Boyd 1 

BLACK COMEDY 
7/19-8/4 

By Peter Shaffer 
Directed by Lou Jacob 

UNCLE VANYA 
8/9-26 1 

By Anton Chekhov 
Translated by Paul Schmidt 
Directed by Julianne Boyd 

413 236-8888 

www.barringtonstageco.org 



28 






was also musical director. The text and music of the serenade's exultant, brilliantly 
scored opening chorus salute the enticing power of the "united harmony of the quiver- 
ing strings, penetrating beat of the kettle drums." 

But there's yet another layer of self-borrowing buried here. That opening chorus for 
the professor was itself based by Bach on, of all things, the third movement of the 
Brandenburg Concerto No. 1, which he had dedicated in 1721 to the Margrave of 
Brandenburg. And while he was about it, Bach lifted another passage from the concerto's 
same movement, the second Trio, to fashion an orchestral "ritornello" for the vocal work 
that follows on without a break from the soprano/bass "aria" (No. 5). 

If you know your Brandenburgs, you'll recognize this music, even though the first of 
the transformations — from an orchestral movement into a festive chorus — represents a 
stunning compositional tour deforce'. Bach replaced horns with trumpets, added flute 
parts to the oboes, brought in the textuaUy dictated kettle drums, changed the meter to 
suit the text, and filled out the concerto's violino piccolo part to give to the voices. All in 
all, an incredible feat, termed by scholar Alfred Diirr "one of Bach's most remarkable 
achievements." It would probably have been easier to compose a whole new piece, but 
hearing the result, one is grateful and tempted to think that this is perhaps what that 
movement from the First Brandenburg was always destined to become. 

No wonder Bach was determined to salvage the professor's cantata for the Elector's 
nameday. AU(!) he needed was a new text for Friedrich August tailored to the existing 
music and its jubilant trumpets and kettledrums. Recycling of this sort, revamping a 
Baroque vocal composition, is known as musical "parody." Here Bach devised only three 
new recitatives (Nos. 2, 4, and 6) and added a purely instrumental march in keeping 
with the "royal" occasion. Otherwise the music of the two cantatas is identical, a rare 
example of a parody that preserves the original score in its entirety. 

The two stirring choruses of BWV 207a frame three pairs of recitatives and arias 
extolling Friedrich August's many, barely credible, virtues (modern historians take a 
more critical view of the monarch) and painting a rose-tinted picture of Saxony as a 
kind of new Arcadia. There are a number of charming allusions to look and listen for in 
the cantata's text and music. Note in particular the reference to the Pleisse, one of three 
rivers that flow near Leipzig, in No. 2 (Recitative), and how Bach depicts its steady flow 
in the undulations of the continuo bass line. 

Cantata BWV 214, "Tonet, ihr Pauken! Erschallet, Trompeten!" 

This cantata for the name day of Friedrich August's wife, Electress Maria Josepha, 
Queen of Poland, represents one of the most famous of all Bach's recycling efforts. 
From the manuscript dated in the composer's hand the day before the performance on 
December 8, 1733, we can assume that the parts had to be copied and the music 
rehearsed at great speed. But the music shows no evidence of haste, indeed Bach's satis- 
faction with this cantata is evident in the fact that he adapted four of its movements 
for the Christmas Oratorio (as he also did with a number of other cantatas). Many of 
you this evening will be nodding and smiling in recognition as you listen to familiar- 
sounding pieces that Bach parodied a year later in the oratorio. You may be surprised 
to find how much of that popular work's music was actually inspired by the words of 
this, the original cantata. The first movement, for instance, one of the most rousing 
pieces Bach ever wrote, became the oratorio's unforgettable opening chorus, "Jauchzet, 
frohlocket," but it's here in Cantata 214 that the blazing of the trumpets and the whack- 
ing of the drums directly reflect the text. 

The performance on Maria Josepha's name day in 1733 (and most likely that of 
Cantata 207a on Friedrich August's name day in 1735 as well) was given by the collegium 



29 



musicum. Bach's score refers to it as a "Drama p[er] Musicd\ and though somewhat less 
overtly theatrical in nature than some of his other secular cantatas, it introduces four 
classically named characters — Irene ("Peace"), sung by a tenor; Bellona ("Art of War"), 
a soprano; Pallas (Athena), an alto; and Fama ("Fame"), a bass — who sing the queen's 
praises, individually in a sequence of arias and recitatives and, finally, together in the 
joyous closing chorus. 

Violin Concerto No. 2 in E, BWV 1042 

Bach was renowned as a great keyboard virtuoso, but he was also a skilled violinist. His 
father had been a professional violinist, and it was as a violinist that Sebastian himself 
secured his own first professional appointment, in 1703 in Weimar. His son Carl Philipp 
Emanuel wrote in 1774 that "from his youth up to fairly old age he played the violin 
purely and with a penetrating tone and thus kept the orchestra in top form, much better 
than he could have from the harpsichord. He completely understood the possibilities of 
all stringed instruments." 

We've already encountered Leipzig's collegium musicum, requisitioned by Bach to per- 
form the two cantatas on this program. While no documentation of their repertoire 
exists, we can presume that Bach also performed a great deal of his own instrumental 
music with them, including his concertos. He probably wrote a fair number of such 
works during his Leipzig years (from 1723), but only three survive in their original 
form — two for solo violin, one for two violins. And, of course, Bach contrived to extract 
maximum value from these concertos by recycling them for other instruments; the 
Violin Concerto in E also turns up with an adapted solo part as the Harpsichord 
Concerto in D. 

Bach modeled his two solo violin concertos on those of Vivaldi, whom he greatly 
admired; they are laid out in three movements, with the fast outer movement alternat- 
ing refrain-like ritornellos for the full orchestra with solo episodes in which the princi- 
pal violin is given an independent, often highly virtuosic solo part. The E major concerto 
opens with a typically Vivaldian theme based on an ascending tonic triad, which Bach 
exploits to the hilt with his fabled contrapuntal ingenuity. The achingly beautiful slow 
movement (Adagio) in C-sharp minor spins out a lyrical solo line above a sharply pro- 
filed, repeating bass pattern, while the jaunty final Allegro is an E major rondeau in the 
French style, with increasingly brilliant solo episodes. This concerto is deservedly one 
of Bach's best-loved orchestral works. 

— Richard Evidon 

Writer, translator, and editor Richard Evidon was for many years Managing Editor of Deutsche 
Grammophon in Hamburg. 




30 




ARTISTS 

To read about the Netherlands Bach Society, conductor Jos van Veldhoven, and the 
vocal soloists on this program, see pages 20-25. 

Johannes Leertouwer 

Johannes Leertouwer was born in the Dutch city of Groningen in 1959 
and started playing the violin at an early age. During his studies at the 
Sweelink Conservatory of Amsterdam with Bouw Lemkes he took part in 
the National Violin Competition "Oscar Back" of 1983, where he was 
awarded the coveted Elisabeth Back Prize as well as the Buma Award for 
the best performance of the obligatory contemporary work, which enabled 
him to continue his studies with Josef Suk in Vienna and Prague. After 
his studies, Mr. Leertouwer concentrated on performance practice on his- 
torical instruments; he has worked with some of the most important ensembles in this field 
as a leader/concertmaster or as a soloist: II Seminario Musicale (Gerard Lesne, Paris), Al 
Ayre Espagnol (Lopes Banzo, Madrid), the Amsterdam Baroque Orchestra (Ton Koopman), 
the Orchestra of the Nederlandse Bach Vereniging (Jos van Veldhoven), and the Orchestra 
Anima Eterna (Jos van Immerseel, Antwerp). He has recorded a number of CDs for the 
Dutch label Globe, including the complete sonatas of Bach, Beethoven, Schubert, and 
Schumann. As a violin teacher, Johannes Leertouwer has been working at the Sweelinck 
Conservatory of Amsterdam since 1990. He has given master classes in France, Italy, Germany, 
Israel, and the United States of America. With the Schonbrunn Ensemble he performs regu- 
larly both nationally and internationally; as a founding member of this ensemble, which spe- 
cializes in performance on period instruments of repertoire ranging from Frescobaldi to 
Debussy, he also recorded a number of CDs and performed live on national television at the 
Royal Palace on the occasion of the birthday of Her Majesty Queen Beatrix. In the "Bach 
year" 2000, Mr. Leertouwer performed the complete sonatas and partitas of J.S. Bach at his- 
toric venues in the Netherlands. In the Holland Festival of Early Music 2002 he performed 
the complete works for violin and piano of Beethoven with his duo-partner Julian Reynolds. 
As a violin soloist, he has appeared with such orchestras as the Osaka Symphony (Haydn 
and Mozart), the Netherlands Chamber Orchestra (Telemann and Vivaldi), and the Orches- 
tra of the Netherlands Bach Society. In the Mozart year 2006, his recording of the complete 
Mozart violin concertos with his own ensemble, La Borea Amsterdam, was released by 
Challenge Records. Johannes Leertouwer plays an exceptional violin made by Antonius and 
Hieronymus Amati in Cremona 1619. He combines his activities as a violinist with a career 
as conductor, guest conducting both specialized ensembles and symphony orchestras. 




31 




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Wednesday, August 8, at 8:30 

Florence Gould Auditorium, Seiji Ozawa Hall 

PIERRE-LAURENT AIMARD, piano 




SEIJI OZAWA HALL 



SCHUMANN 



Gesdnge der Friihe, Opus 133 

Im ruhigen Tempo [In a calm tempo] 
Belebt, nicht zu rasch [Lively, without rushing] 
Lebhaft [Lively] 
Bewegt [With movement] 

Im Ansange ruhiges, im verlauf bewegtes tempo 
[Calm to start, but moving along] 



J.S. BACH 



Selections from The Art of the Fugue 

Contrapunctus 7, per Augment et Diminut 

Contrapunctus 2 

Contrapunctus 12 (rectus) 

Canon per Augmentationem in Contrario Motu 

Contrapunctus 12 (inversus) 

Contrapunctus 6, in Stile francese 

Contrapunctus 11 



INTERMISSION 



Program continues. 



State Street Global Advisors is proud to sponsor the 2007 Tanglewood season. 



Steinway and Sons Pianos, selected exclusively for Tanglewood 

Special thanks to Delta Air Lines and Commonwealth Worldwide Chauffeured Transportation 

In consideration of the performers and those around you, cellular phones, pagers, 
and watch alarms should be switched off during the concert. 

Please do not take pictures during the concert. Flashes, in particular, are distracting to 
the performers and other audience members. 

Note that the use of audio or video recording equipment during performances in the 
Koussevitzky Music Shed or Ozawa Hall is prohibited. 










33 



BENJAMIN 



Piano Figures (2004) 


1. SpeU 

2. Knots 


3. In the Mirror 


4. Interruptions 

5. Song 

6. Hammers 


7. Alone 


8. Mosaic 


9. Around the Corner 


10. Whirling 



CARTER 



Intermittences (2005) 
Two Diversions (1999) 
Catenaires (2006) 




NOTES ON THE PROGRAM 

This recital features a number of interesting and dynamic congruencies — there are works 
of old age and of middle age; works of late in life; works by master performers on the 
keyboard; works of multiple episodes, and pieces conceived with young performers in 
mind — but it is the absolute mastery of the potential of the keyboard that stands out as 
the glue holding the program together. The particular technique to note here is that of 
counterpoint, the composer calling on two hands to delineate and bring to life more 
than two, often more than three or even four different musical strands or strata, entan- 
gled yet transparent, each independent and with its own character but working also as 
part of a greater whole. 

Robert Schumann (1810-1856) wrote the five-movement piano cycle Gesange der 
Fruhe ("Songs of the Dawn"), his penultimate piano work, in a little less than a week, 

between October 13 and 18, 1853. These weeks late in the year 
were part of his last major creative period. Long having suf- 
fered from bouts of psychological anguish and physical illness, 
he would be hospitalized in an asylum only a few months later 
after jumping into the Rhine in an apparent suicide attempt. 
That fall, though, he was as prolific a composer as ever. In 
a matter of days earlier in October he had completed his Violin 
Concerto, perhaps inspired by visits from the great violinist, 
conductor, and composer Joseph Joachim; Schumann had 
already written the Phantasie for violin and orchestra earlier in 
September alongside other quickly completed but rather sub- 
stantial works. Along with Joachim, the twenty-year-old composer Johannes Brahms 
first entered Schumann's life at this time and was a frequent presence in his home. On 




34 



October 13 Schumann wrote the famous article "Neue Bahne" ("New Paths," published 
the following month in Neue Zeitschrift) announcing Brahms as the savior of German 



music. 



Gesange der Fruhe, though on a lesser scale, is in the same genre of piano cycle as the 
composer's earlier (and far better known) Carnaval, Kinderszenen ("Scenes from Child- 
hood"), and Fantasiestucke, works as intensely, quintessentially Romantic as they are 
utterly Schumann. In the Gesange, as in many of the composer's large-scale works and 
cycles (in all genres) we find a confluence of many impulses. Schumann was significantly 
influenced by literature, and in particular the German literature of his era. The Gesange 
der Fruhe bear the marking "An Diotima," a reference to the work of the German poet 
Holderlin; the cycle is dedicated to Bettina Brentano, the incredibly gifted sister of the 
poet Clemens Brentano and wife of the poet Achim von Arnim. There is also the 
expected strong interest in developing the structure of this multi-movement work in a 
highly cohesive way, basing each movement on transformation of the material that forms 
the autumnal theme heard in the first "song." (Note the contour of the melody in the 
third piece, for example, which is the inversion of the melody in the first.) This "cyclic 
unity" approach is one Schumann explored in many of his works, for example in the 
Third Symphony; his use of the technique links the music of the Bach of The Art of the 
Fugue and Beethoven's Fifth Symphony to the work of Brahms and Liszt. 

In the last decade of his life, J.S. Bach (1685-1750) began to reconsider and collect 
older works together, apparently with an eye toward assessing his legacy as an artist and 

craftsman. This activity included writing and/or compiling 
several ambitious works that serve virtually as catalogues of 
, the compositional techniques available to the European com- 
poser of his day: his B minor Mass is an exploration of liturgi- 
cal music; the Well-tempered Clavier delves into the nature of 
tonality in forty-eight preludes and fugues, two each in every 
major and minor key in the chromatic scale; and three large- 
scale monothematic cycles of pieces that exhaustively consider 
the musical potential of imitative counterpoint (canon and 
fugue). These latter are the Goldberg Variations for keyboard; 
A Musical Offering, based on a theme suggested by the King 
of Prussia, Frederick the Great; and The Art of the Fugue. 

The surviving manuscript of The Art of the Fugue includes fourteen fugues and four 
canons, in essentially increasing order of complexity. The posthumously published ver- 
sion includes four more pieces, concluding with the most elaborately constructed of the 
pieces, an ostensibly incomplete four-subject (quadruple) fugue that incorporates the 
composer's B-A-C-H (B-flat-A-C-B-natural) musical signature as a countersubject. 
All of the pieces are built upon the same D minor theme, sketching out a D minor 
arpeggio followed by a turning scale that lands back at the tonic. 

The first piece in this selection, Contrapunctus 7, "with augmentation and diminu- 
tion," will suffice to illustrate the intricacy of Bach's fugal construction. The interrelated 
themes are presented in the order tenor, soprano, alto, bass. The first version is almost 
the familiar one, with the arpeggio filled in with dotted rhythms and sixteenth notes. 
The soprano's countersubject is in augmented rhythm (half the speed of the tenor's 
theme) as well as inverted — a falling fifth, a rising scale. The alto theme is an inversion 
of the original theme, at the same speed (hence also a diminution of the soprano version). 
Finally, the fourth voice enters, augmented by four (what was a quarter note is now a 
whole note, etc.). 

Contrapunctus 2 is a far simpler conception, with only one version of the theme, 




35 



presented first in the bass and spiced with dotted rhythms on its tail and the contrapun- 
tal accompaniment. Contrapunctus 12 is actually two fugues, one (inversus) the inver- 
sion or flipped version of the other {rectus). Aimard plays the rectus first here, followed 
by the Canon (No. 1), then the inversus version of Contrapunctus 12. The Canon "with 
augmentation in contrary motion" is in two voices. Its theme is a chromatic variant of 
the original; the canon voice, as the subtitle suggests, is an augmented (slower) and 
inverted (upside-down) version of this theme. Contrapunctus 6 is subtided "in the French 
style," marked by its dotted rhythms. As in Contrapunctus 7, the bass theme is chased 
by its inversion, here in diminished (faster) form, followed by a diminished right-side-up 
theme. Contrapunctus 11, built on a halting version of the theme (and later its inver- 
sion), proceeds with new motivic material, notably chromatic scales and repeated-note 
figures; it might be the most "modern'-sounding of the fugues in the cycle. 

The extraordinary British composer, pianist, and conductor George Benjamin (b.1960) 
was one of Olivier Messiaen's last pupils. After making a big international impact with 
the precociously deft works of his late teens and early twenties, he has gone on to win 
accolades for a body of exquisitely crafted and sonically dazzling works that, while shar- 
ing with Messiaen's music a strong sense of harmonic and timbral color, are unique to 
Benjamin in their structural coherence and imaginative musical narrative. Among his 
major pieces are the early tone poem At First Light, the virtuosic orchestral diptych 
Palimpsests I & II, and, more recentiy, his first opera, Into the Little Hill, premiered this 



The Tanglewood Association of the 
Boston SymphonyAssociation of Volunteers 

and 
The Berkshire Museum 

present 

THE JOYS OF TANGLEWOOD 

with host/commentator Martin Bookspan 

Tuesday mornings from 10-11:30 a.m. at the 
Berkshire Museum, 39 South Street (Rte. 7) in Pittsfield 

July 10: A conversation with conductor/composer/pianist Sir Andre Previn 
July 17: A conversation with conductor Mark Elder 

July 24: "Historic Recordings of Verdi's Don Carlo" with former Boston Globe 

Music Critic Richard Dyer and BSO Director of Program Publications 

Marc Mandel 
July 31: Composer John Harbison and BSO principal bass Edwin Barker discuss 

the 2007 Festival of Contemporary Music and new music for the double 

bass 
August 7: "Touring the BSO, Yesterday and Today," with BSO Orchestra Manager 

Ray Wellbaum, BSO Personnel Manager Lynn Larsen, and BSO 

Senior Archivist Bridget Carr 

August 14: "Staging Mozart's Cost fan tutte" with director Ira Siff and designers 
John Michael Deegan and Sarah G. Conly 

August 21: A conversation with Boston Pops Laureate Conductor John Williams 

Tickets available by calling The Berkshire Museum at (413) 443-7171, ext. 10. 
Series subscriptions: $65 (available through July 10) • Single tickets (space permitting): $10 



36 




past June at the Holland Festival. He has been a presence at Tanglewood as a Tanglewood 
Music Center composer-in-residence and as director of the Festival of Contemporary 
Music. 

It was in 1976, while visiting Messiaen prior to becoming his pupil, that Benjamin 
first met Pierre-Laurent Aimard, who was a piano student of Messiaen and his wife, 

Yvonne Loriod. Benjamin had Aimard in mind for the diffi- 
cult keyboard part to his ensemble work Antara (1987), and 
later wrote the solo piano work Shadoivlines (2003) for Aimard. 
He wrote Piano Figures for Aimard on commission from the 
Philharmonie Luxembourg, completing the set in 2004. The 
world premiere performances were given in Luxembourg in 
May 2006, where the fourteen- minute piece was played twice: 
once by Aimard, and once by children whom Aimard had 
coached in the piece over several months. Benjamin took 
seven of the movements as a partial basis for his orchestral 
Dance Figures (2005), written for the Chicago Symphony 
Orchestra. Aimard gave the American premiere at Carnegie Hall in March 2007. 

This history, and the straightforwardly illustrative titles of the ten short pieces, give 
an indication of their unpretentious quality and relatively modest technical scope, 
although one shouldn't assume they are anything other than subtle and expressively 
wide-ranging. There are frequent changes of meter, tempo, and pedal, for example in 
the grace-note textures of movement eight, "Mosaic," and ten, "Whirling"; overlapping 
two-against-three between left and right hand in movement seven, "Alone," and nine, 
"Around the Corner," and in general many other localized delicacies of touch, tempo, 
and dynamics, of harmony and figuration. There are also big contrasts on the level of 
movements, for example between the flowing melodicism of the fifth movement, "Song," 
succeeded by the aggressiveness of "Hammers. "This music never panders or coddles, 
but takes full advantage of a child's imagination and ability to learn. 

Elliott Carter (b.1908), perhaps best known as an orchestral composer (although his 
two Pulitzer Prizes were for his second and third string quartets), has written only a 
couple large-scale solo piano works. The Sonata, a work of taut American neoclassicism 
dating from 1946, is from what we might think of as the first period of his career; his 
""^^M I Night Fantasies (1980) is a key work in his catalogue, both in 
I scope and technique. He has written many smaller piano 
pieces in recent years among the many other occasional works 
for various instruments and ensembles that have been a major 
part of his output since about the early 1980s. The four works 
on this program fall into this category. 

Carter wrote the Two Diversions in 1999 for Carnegie 
Hall's "Millennium Piano Book" project, an initiative involv- 
ing ten commissioned composers (with TMC faculty member 
Ursula Oppens as both performer and coach). The Diversions, 
as Carter explains, are quite different in character and musical 
argument, although both involve some aspect of the composer's interest in simultaneous 
multiple tempos. He writes "These Two Diversions for piano deal with a growing con- 
trast between simultaneous musical ideas. The first Diversion presents a line of paired 
notes, musical intervals, that maintain a single speed throughout, while the other very 
changeable material uses many different speeds and characters. The second Diversion 
contrasts two musical lines one of which, on the whole, grows slower and slower while 
the other grows faster and faster. With these musical ideas about diverging materials, 




37 



I hope I have written diverting music." The Diversions, which together total about eight 
minutes, were first performed by Kirill Gerstein at Carnegie Hall on March 2, 2000. 

Carter wrote Intermittences in 2005 for the pianist Peter Serkin on commission from 
Carnegie Hall and the Gilmore International Keyboard Festival. Serkin premiered it in 
Miller Auditorium in Kalamazoo, Michigan on May 3, 2006. This eight-minute piece 
in one movement contrasts short bursts of activity in chords or figures with static, sus- 
tained chords and silence. "The many meanings silences can express in musical discourse 
challenged me to use some of them in Intermittences. This title was suggested by 'Inter- 
mittences du Coeur,' one of the chapters in Marcel Proust's novel [In Search of Lost 
Time]. It is a short work that also uses many different piano sounds to convey its expres- 
sive meanings." 

Pierre-Laurent Aimard was the originator of Carter's Catenaires ("Chains"): "When 
Pierre-Laurent Aimard, who performs so eloquendy, asked me to write a piece for him, 
I became obsessed with the idea of a fast one line piece with no chords. It became a 
continuous chain of notes using different spacings, accents, and colorings, to produce a 
wide variety of expression." Carter finished the piece in September 2006 and Aimard 
premiered this brief, brilliant piece at Carnegie Hall's Zankel Hall two months later, on 
December 11, the composer's 98th birthday 

— Robert Kirzinger 

Robert Kirzinger is Publications Associate of the Boston Symphony Orchestra. 





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ARTIST 

Pierre- Laurent Aimard 

Widely acclaimed as a key figure in the music of our time and a leading 
interpreter of the standard piano repertoire, Pierre-Laurent Aimard enjoys 
an internationally celebrated career that transcends traditional boundaries. 
Each season he performs throughout the world with major orchestras 
under conductors including Pierre Boulez, Christoph von Dohnanyi, 
Christoph Eschenbach, Nikolaus Harnoncourt, Sir Simon Rattle, Esa- 
Pekka Salonen, and Franz Welser-Most. Mr. Aimard made his Carnegie 
Hall debut in 2001 and maintains a regular relationship there as well as 
with the Konzerthaus Vienna, Philharmonie Cologne, Berlin Philharmonic, and South Bank 
Centre, London. During the 2006-07 season he curates both a "Perspectives" series at New 
York's Carnegie Hall and a "Carte Blanche" series at the Konzerthaus Vienna. He serves as 
pianist-in-residence with the Berlin Philharmonic, begins a song recital series at the Palais 
Gamier, Opera de Paris, and returns to the Philharmonie Cologne, Palais des Beaux- Arts, 
Brussels, and London's South Bank Centre. He was artist-in-residence at the Salle de 
Concerts Grande-Duchesse Josephine-Charlotte, Luxembourg, in its inaugural season of 
2005-06, and this season begins a three-year term as artistic partner with the St. Paul Cham- 
ber Orchestra. Through professorships in Paris and Cologne, as well as concert lectures and 
workshops worldwide, he sheds an inspiring and personal light on music from all periods. 
The recipient of the Royal Philharmonic Society's Instrumentalist Award in spring 2005, he 
gave the world premiere performances of Peter Eotvos's CAP-KO (dedicated to Bela Bartok), 
a new concerto for acoustic piano, keyboard, and orchestra, in spring 2006. Born in Lyon, 
France, in 1957, Pierre-Laurent Aimard studied at the Paris Conservatoire with Yvonne 
Loriod, and in London with Maria Curcio. Early career landmarks included winning first 
prize in the 1973 Messiaen Competition, and his appointment at age nineteen, by Pierre 
Boulez, as the Ensemble InterContemporain's first solo pianist. For more than fifteen years 
he collaborated closely with Gyorgy Ligeti, recording his complete works. He has an exten- 
sive discography and in recent years has recorded regularly for Teldec/Warner Classics. He 
has been honored with Echo Classic awards, in 2003 for the complete Beethoven piano con- 
certos with the Chamber Orchestra of Europe led by Nikolaus Harnoncourt, and in 2004 for 
Debussy's Images and Etudes. His recording of Ives's Concord Sonata and songs with Susan 
Graham won a 2005 Grammy. Recent releases include recital discs of Ravel/Carter; an 
acclaimed recording of Mozart piano concertos with the Chamber Orchestra of Europe, 
directed by him from the keyboard; and, issued in November 2006, Schumann's Carnaval 
and Etudes symphoniques. Pierre-Laurent Aimard made his BSO debut at Tanglewood in July 
1991 and has appeared with the orchestra several times since then, in Boston, in New York, 
and on tour in Paris and Cologne. His most recent BSO appearances were as soloist in 
Bartok's Piano Concerto No. 2 this past April at Symphony Hall, with Christoph von 
Dohnanyi conducting. This Friday night at Tanglewood he is soloist with James Levine and 
the orchestra in Ravel's Piano Concerto in G, which they will also perform in Lucerne and 
Berlin during the BSO's post-Tanglewood European tour. 




39 




Tangle wood 



Thursday, August 16, at 8:30 

Florence Gould Auditorium, Seiji Ozawa Hall 

JOSE VAN DAM, bass-baritone 
CRAIG RUTENBERG, piano 



IT\ 



SEIJI OZAWA HALL 



The audience is politely requested to withhold applause 
until after the last song in each group of songs. 



FAURE 



Four Songs 

Les Berceaux (Cradles) 
Apres un reve (After a dream) 
Clair de lime (Moonlight) 
Mandoline (Mandolin) 



DUPARC 



Five Songs 

L'Invitation au voyage (Invitation to journey) 

Phidyle 

Extase (Rapture) 

Le Manoir de Rosemonde (The manor of Rosamonde) 

Chanson triste (Song of sadness) 



INTERMISSION 



DEBUSSY 



Fetes galantes, Set II 

Les Ingenus (Ingenus) 

Le Faune (The faun) 

Colloque sentimental (Lovers' dialogue) 



IBERT 



Chansons de Don Quichotte 

Chanson du depart de Don Quichotte 

(Song of Don Quixote s parting) 
Chanson a Dulcinee (Song to Dulcinea) 
Chanson du Due (The Duke s song) 
Chanson de la mort de Don Quichotte 
(Song of Don Quixote s death) 






Please note that texts and translations are being distributed separately. 



40 



POULENC 



Le Bestiaire au cortege d'Orphee 

Le Dromadaire (The dromedary) 

La Chevre du Thibet (The Tibetan goat) 

La Sauterelle (The grasshopper) 

Le Dauphin (The dolphin) 

L'Ecrevisse (The crayfish) 

La Carpe (The carp) 



POULENC 



Chansons gaillardes 

La Maitresse volage (The fickle mistress) 

Chanson a boire (Drinking song) 

Madrigal 

Invocation aux Parques (Invocation to the Fates) 

Couples bachiques (Bacchic verses) 

LOffrande (The offering) 

La Belle jeunesse (Gilded youth) 

Serenade 



State Street Global Advisors is proud to sponsor the 2007 Tanglewood season. 



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Special thanks to Delta Air Lines and Commonwealth Worldwide Chauffeured Transportation 

In consideration of the performers and those around you, cellular phones, pagers, 
and watch alarms should be switched off during the concert. 

Please do not take pictures during the concert. Flashes, in particular, are distracting to 
the performers and other audience members. 

Note that the use of audio or video recording equipment during performances in the 
Koussevitzky Music Shed or Ozawa Hall is prohibited. 




NOTES ON THE PROGRAM 

Until the last decades of the nineteenth century, the piano-accompanied French art song 
was an almost negligible genre (one score that belies this assertion, Hector Berlioz's 
cycle Les Nuits d'ete, is the exception that proves this rule, for the composer's orchestral 
version is far more effective than his piano original). But with the emergence of the 
Gallic composing generation that had to come to terms with Richard Wagner — 
absorbing his harmonic vocabulary yet reacting against his expressive aims — the French 
art song flourished as never before, and continued to thrive in the hands of their Impres- 



41 



sionist and Modernist successors. Jose van Dam's program surveys this golden age of 
the chanson between the late 1860s and the early 1930s. 

As a rule, great song composers are not only inspired melodists and masterly minia- 
turists, but also inveterate chamber-music thinkers, always concerned with close interac- 
tion between melodic voice and accompaniment. This mindset informed the superb 

chamber works of GABRIEL FAURE (1845-1924) and also 
made him a song composer of first importance. 

In "Les Berceaux," Opus 23, No. 1 (1879), melded verbal 
images of rocking boat and rocking cradle call forth a swaying 
accompaniment. Superb, in the second stanza, is the manner 
in which Faure broadens the phrasing beyond symmetry at a 
climax marked by thrilling harmonic twists. "Apres un reve," 
Opus 7, No. 1 (1878), is one of Faure's most widely loved lyric 
utterances. With its sustained arch of haunting, bittersweet 
melody broadened by melismas of operatic luxuriance, it is 
often performed as an instrumental solo. The discovery of 
Paul Verlaine's verse was a revelation for Faure; and no less revelatory, in turn, was Faure's 
luminous setting of the poet's "Clair de lune," Opus 46, No. 2 (1887), a seminal lyric in 
its symbolic evocation of a vanished French classicism a la Watteau. A purling piano 
melody suggests lute music, returning after an exquisitely proportioned transition 
between the first and second stanzas. The final stanza brings a voluptuous reharmon- 
izing of the lute melody. "Mandoline," Opus 58, No. 1 (1891), floats an airy, sinuously 
flexible melody over scintillating plucked- string figuration, as it evokes lovers' suscepti- 
bility to nocturnal fragrances and sexual yearnings. 

Given that the art-song is quintessentially the medium of psychological interiority 
and emotional subtlety, it is not surprising that the finest song composers tended to suf- 





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42 




fer from that excruciating sensitivity that periodically makes life a torture. Such was the 
case with Franz Schubert and Hugo Wolf— and for HENRI DUPARC (1848-1933) 
this affliction became tragically disabling. Severe psychological stresses and increasingly 
debilitating physical ailments effectively put an end to his creative career at age thirty- 
seven. Before his voice was stilled, however, he plied a uniquely exquisite post-Wagnerian 
style in a tiny canon of published works — a mere sixteen songs, three of which he later 
wanted suppressed. These, however, were so high in overall quality that Duparc now 

ranks as one of France's most important chanson composers. 
In "Limitation au Voyage" (ca. 1870), Duparc enters the 
voluptuous world of Charles Baudelaire. Vocal longing floats 
upon the piano's richly textured ocean undulations, which 
eventually uncoil in sparkling colors when the poet reaches 
"the end of the world." Duparc realizes enormous contrasts of 
mood in "Phidyle" (1882). After the dream-like chordal con- 
templation of the opening episode, mention of the beloved 
Phidyle brings a more emotionally engaged luminosity, and 
from this new plateau the music takes wing amid swirls of 
voluptuous harmonies and colors. In one of the literature's 
greatest slow songs, "Extase" (1874), past, present, and future melt into an intoxicating, 
timeless languor, as if each chromatic shift were releasing a perfume of painful sweetness. 
"Le Manoir de Rosemonde" (1884) limns bitter chivalric obsession with Wagnerian 
swagger, always returning to a single dark keyboard refrain. "Chanson triste" (1868 or 
1869) somewhat belies its title with a stream of moonlit ardor whose harmonic turns 
exquisitely depict uncontrollable rushes of affection ("Dans le calmement..."; "Oh! 
Quelquefois..."). 

From the extensive rewriting of his opera Pelleas et Melisande for its 1902 premiere, 
CLAUDE DEBUSSY (1862-1918) emerged as a composer more liberated in imagina- 
tion, more daring in technical resource, and more cogent in extended musical narrative 
than ever before. Now producing his first fully mature piano works — the Estampes trip- 
tych (1903) and Lisle joyeuse (1904) — he also tackled what was in effect his first sym- 
phony (the orchestral masterpiece La Met). A new dimension became evident as well in 
Debussy the song composer, as he returned to a poet who had previously inspired cru- 
cial advances in his art — Paul Verlaine. 

It was in a Verlaine song written in 1882 that Debussy's true creative voice had first 
emerged. Later, between 1888 and 1892, the composer penned three superb Verlaine 

collections, including the first group of Fetes galantes. De- 
bussy's 1904 Verlaine triptych, the present Fetes galantes II, 
proved equally prophetic, its harmonic mystery and coloristic 
exoticism opening pathways that the composer would later 
explore in his cryptic, rarefied piano preludes. Beginning in 
a disquieting haze of unstable whole-tone harmonies, "Les 
Ingenus" captures the world of virginal adolescent sensuality: 
the bewilderment of hidden feminine mysteries conveyed 
by inchoate chromaticism, the jolts of disclosure perceived 
as violation becoming low- register eruptions, the warmth 
of perceived flesh appearing in the glow of more familiar 
Romantic-period harmonies. In "Le Faune," weird skirls of mythologized woodland 
piping summon a rhythmic pulsation that represents a tambourine accompanying a sun- 
washed rite of indefinable menace. The opening whole-tone harmonies of "Colloque 
sentimental" evoke a limbo surrounding the ghosts of two lovers. Later, Romantic- 




43 




period harmonies reveal more uncomplicated sensual pleasure, as the couple's memories 
of affection swell to an erotic climax. 

In 1932, Maurice Ravel agreed to write songs for G.W. Pabst's film of Don Quixote 
starring the legendary bass Fyodor Chaliapin. But Ravel, now suffering severe neurolog- 
ical impairment, made such slow progress that Pabst had to reassign the project to the 
composer JACQUES IBERT (1890-1962). A Paris Conservatory-educated winner of 
the Prix de Rome back in 1919, Ibert had gained wide recognition for his 1922 orches- 
tra piece Esca/es, enjoying subsequent success with an opera, 
a ballet, and a splendid concerto for cello and winds. Ibert 
finished the Don Quixote songs well before the end of 1932, 
and the following March conducted Chaliapin's recording ses- 
sions for the film soundtrack. 

For the Don Quixote songs, Ibert cannily uses melodic and 
harmonic traits of the Phrygian mode to evoke the antique 
Spain of the Cervantes era. Only the lightest instrumental 
punctuation appears in the "Chanson du depart de Don 
Quichotte," a noble interior meditation in which florid melis- 
mas serve a deeply expressive purpose. Launched by an almost 
erotic touch of flamenco vocalise, the "Chanson a Dulcinee" is a suave, gallant offering 
to the beloved, concluding in a rapt pianissimo. In "Chanson du Due," atmospheric 
introductory gestures coalesce into a mildly elegiac melody, which Don Quixote's voice 
infuses with a newly hearty and lusty character. Ibert provides accompaniments of con- 
siderable variety to the nearly identical stanzas. In the "Chanson de la mort de Don 
Quichotte," the hero says farewell, maintaining an elevated dignity even as shivers rack 
his failing body. 

Described by a friend as "half guttersnipe and half saint," FRANCIS POULENC 
(1899-1963) preserved perfect artistic aplomb during the most drastic musical shifts 

from parody to sweet simplicity. Poulenc found a kindred spirit 
in Guillaume Apollinaire — a poet of the here-and-now minu- 
tiae of everyday life. Indeed, Poulenc's first major work (1919) 
was the present cycle of six brief songs based upon the droll 
verses of Apollinaire s Le Bestiaire, ou Cortege d'Orphee. In "Le 
Dromadaire," Poulenc sustains a poker face to savor his absurd 
musical image of a camel caravan slogging through the desert. 
Only after the procession disappears does he burst into giggles. 
Gnomic musical aperfus then limn a modest goat untouched 
by the blandishments of mythological grandeur; a tenderly 
cherished grasshopper; a frolicking dolphin, and a scuttling 
crayfish. For the carp, Poulenc contrives to take us into the underwater world, where 
streams of bubbles float upward amid a viscous glow. 

Written in 1926, the racy Chansons Gaillardes quintessentialize the impudent, zestful 
style of Poulenc's early years. The premiere of this cycle on May 2, 1926, marked the 
first time Poulenc performed with the baritone Pierre Bernac. The two would not be 
reunited for some years, but in 1934 they became permanent recital partners. Bernac 
pinpointed the mood of these songs when he said that Poulenc "detested smutty stories 
but liked obscenity." 

The racy "La Maitresse volage" depicts the hidden annoyance behind a betrayed 
lover's manic pretense of cheerful indifference. In "Chanson a boire," as the keyboard 
introduction makes clear, the singer has long since reached that stage of drunkenness 
where sententious philosophical and historical observations dominate his discourse. In 




44 



the introduction that previews the sparkling, elegantly courtly melody of "Madrigal," 
the piano can barely restrain compulsions to giggle. When the outrageous final couplet 
appears, we learn why. Poulenc puts on a noble poker face in "Invocation aux Parques," 
allowing the phallic double-entendre in the lyrics to speak for itself, in an image of 
quiet, unhurried sexual pleasure. The drunkard of the virtuosic "Couplets bachiques" is 
as exuberant as his predecessor was orotund, pouring out raffish chatter as glints of wine 
dance in flickers of candlelight. Poulenc brings off the most scandalous of all these 
bawdy songs, "L'Offrande," by focusing on the virgin's innocence, preserved in a glow of 
piety until the last gasped moment of realization. Prior to the closing "Serenade," the 
roistering "La Belle jeunesse" scintillates with music-hall bravado of non-stop energy. 

— Benjamin Folkman 

Benjamin Folkman, a New York-based annotator and lecturer whose articles have appeared in 
Opera News, Stagebill, and numerous other publications, was a Gold Record-winning collabora- 
tor on "Switched-On Bach" and is currently President of the Tcherepnin Society. 



ARTISTS 

Jose van Dam 

[V Belgian bass-baritone Jose van Dam's appearances in Berlioz's Damnation 
of Faust with James Levine and the Boston Symphony Orchestra in 
Boston and New York in February 2007 (being repeated at Tanglewood 
this Sunday) are his only North American engagements this season. After 
WR Tanglewood, he rejoins Mr. Levine and the BSO for tour performances of 
Damnation of Faust in Lucerne, Essen, Paris, and London. Other engage- 
^^v^^l ments in 2006-07 include the title role in staged performances of Elijah 

HH iv I at the Teatro Comunale di Firenze and at the Saito Kinen Festival with 

Seiji Ozawa, and the role of Germont in La traviata at La Monnaie in Brussels and at the 
Paris Opera, where he also appears as the Father in Charpentier's Louise. Mr. van Dam began 
his 2005-06 season with recitals in Frankfurt, Peralada, and Bucharest followed by Janacek's 
From The House of the Dead at the Teatro Real in Madrid, a new production of Prokofiev's 
The Love for Three Oranges at the Paris Opera, Claudius in Hamlet at the Grand Theatre de 
Geneve, the title role of Boris Godunov at La Monnaie and at the Concertgebouw, The 
Damnation of Faust at the Paris Opera, and concerts at the Verbier Festival. He is a regular 
guest of the world's major opera houses and festivals, his many roles having included Falstaff, 
Wozzeck, Simon Boccanegra, Don Giovanni, the four villains in The Tales of Hoffmann, Boris 
Godunov, Hans Sachs in Die Meistersinger von Number g, Amfortas in Parsifal, the Flying 
Dutchman, Jochanaan in Salome, Mephistopheles in Gounod's Faust, Scarpia in Tosca, and 
Gianni Schicchi. A two-time Grammy Award winner, he can be heard on numerous record- 
ings, among them Gounod's Faust, Enescu's Oedipe, Massenet's Don Quichotte, and Debussy's 
Pelle'as et Melisande with Claudio Abbado. He can be heard as Figaro in Le nozze di Figaro, in 
Carmen and Die Meistersinger conducted by Sir Georg Solti, Berlioz's Romeo et Juliette with 
the Boston Symphony led by Seiji Ozawa (recorded at the time of the bass-baritone's BSO 
debut in 1975), and Simon Boccanegra with Claudio Abbado and the Orchestra of La Scala. 
Other releases include Mozart's Cost fan tutte and Strauss's Salome with the Vienna Philhar- 
monic, and many recordings with Herbert von Karajan and the Berlin Philharmonic. Jose 
van Dam has been honored in many countries around the world. He was named a Baron by 
His Majesty Albert II of Belgium, and the city of Berlin awarded him the title of "Kammer- 
sanger." For his many extraordinary interpretations in recordings and on stage, he has received 
the German Music Critics' Prize, the Gold Medal of the Belgian Press, the Grand Prix de 
1 Academie Francaise du Disque, the Orphee d'Or of the Academie Lyrique Francaise in 
1980 and 1994, the European Critics' Prize for St. Francis ofAssisi, and France's Diapason 



■ 1 



45 



d'or and Prix de la Nouvelle Academie du Disque. He was featured in the motion pictures 
The Music Teacher and Don Giovanni, conducted by Lorin Maazel, and his video recording of 
Schubert's Winterreise has been released by Disques Forlane. Jose van Dam made his Boston 
Symphony debut in October 1975 under Seiji Ozawa in Boston and New York, in Berlioz's 
Romeo et Juliette. He has also appeared with the BSO in the American premiere of Three 
Tableaux from Messiaen's opera St. Francis ofAssisi, Mahler's Riickert Songs and Ravel's 
L'Enfant et les sortileges, Beethoven's Ninth Symphony, the finale of Berlioz's Romeo et Juliette 
and selections from Berlioz's Les Nuits d'e'te', and Zemlinsky's Lyric Symphony. 

Craig Rutenberg 

Recognized as one of the most distinguished accompanists on the stage 
today, pianist Craig Rutenberg has collaborated with many of the world's 
greatest vocalists. Having studied piano and interpretation with John 
Wustman, Geoffrey Parsons, Pierre Bernac, and Miriam Solovieff, Mr. 
Rutenberg has appeared in recital with Denyce Graves, Sumi Jo, Harolyn 
Blackwell, Susanne Mentzer, Frederica von Stade, Angelika Kirchschlager, 
and Dawn Upshaw, and frequently with Thomas Hampson, Ben Heppner, 
and Jerry Hadley as well as Olaf Baer, Simon Keenlyside, and Stanford 
Olsen. He has performed with Mr. Hampson at the White House under the Clinton admin- 
istration. Mr. Rutenberg records for Deutsche Grammophon, EMI/ Angel, BMG/RCA, and 
Koch International. He has appeared repeatedly in concert on national and international tel- 
evision and radio, including numerous PBS specials. Currently a visiting professor at the Royal 
College of Music in London and guest coach at Operahogskolan in Stockholm, Sweden, Mr. 
Rutenberg became Head of Music Administration at the Metropolitan Opera in September 
2006. He regularly coaches and gives master classes at Chicago Lyric Opera Center for 
American Artists, the Pittsburgh Opera Center, Chicago Opera Theatre, and Vancouver 
Opera, as well as in training program at Washington Opera and the Royal Opera House, 
Covent Garden. Craig Rutenberg has also worked for the Opera Studio de Paris, Glynde- 
bourne Festival Opera, San Francisco Opera, Houston Grand Opera, Santa Fe Opera, and 
Glimmerglass Opera. In addition to his teaching activities in the 2006-07 season, he appears 
in recital with Christine Brewer, Vivica Genaux, Susanne Mentzer, Ben Heppner, Quinn 
Kelsey, Jose van Dam, and Thomas Hampson. As solo pianist, he is recording the complete 
piano portraits and etudes of Virgil Thomson. 





46 




Tangle wood 



Thursday, August 16, at 8:30 

Florence Gould Auditorium, Seiji Ozawa Hall 

JOSE VAN DAM, bass-baritone 
CRAIG RUTENBERG, piano 



%m n 



SEIJI OZAWA HALL 



TEXTS AND TRANSLATIONS 



The audience is politely requested to withhold applause 
until the end of each group of songs. 






FAURE Four Songs 

Les Berceaux 

Le long du quai, les grands vaisseaux, 
Que la houle incline en silence, 
Ne prennent pas garde aux berceaux, 
Que la main des femmes balance. 

Mais viendra le jour des adieux, 
Car il faut que les femmes pleurent, 
Et que les hommes curieux 
Tentent les horizons qui leurrent! 

Et ce jour-la les grands vaisseaux, 
Fuyant le port qui diminue, 
Sentent leur masse retenue 
Par Fame des lointains berceaux. 

— Sully Prudhomme 

Apres un reve 

Dans un sommeil que charmait 

ton image 
Je revais le bonheur, ardent mirage, 
Tes yeux etaient plus doux, ta voix 

pure et sonore, 
Tu rayonnais comme un ciel eclaire 

par l'aurore; 

Tu m'appelais et je quittais la terre 
Pour m'enfuir avec toi vers la lumiere, 
Les cieux pour nous entr'ouvraient 

leurs nues, 
Splendeurs inconnues, lueurs divines 

entrevues, 



Cradles 

Along the quay, the great ships, 
that ride the swell in silence, 
take no notice of the cradles 
that the hands of the women rock. 

But the day of farewells will come, 
when the women must weep, 
and curious men are tempted 
towards the horizons that lure them! 

And that day the great ships, 

sailing away from the diminishing port, 

feel their bulk held back 

by the spirits of the distant cradles. 

— tr. Douglass Watt Carter 

After a dream 

In a slumber which held your image 

spellbound 
I dreamt of happiness, passionate mirage, 
Your eyes were softer, your voice 

pure and sonorous, 
You shone like a sky lit up by the dawn; 

You called me and I left the earth 

To run away with you towards the light, 

The skies opened their clouds for us, 

Unknown splendours, divine flashes 
glimpsed, 



Please turn the page quietly. 





Helas! Helas! triste reveil des songes 


Alas! Alas! sad awakening from dreams 




Je t'appelle, 6 nuit, rends moi tes 


I call you, O night, give me back your lies, 




mensonges, 






Reviens, reviens radieuse, 


Return, return radiant, 




Reviens 6 nuit mysterieuse! 


Return, O mysterious night. 




— Romain Bussine, after an 


— tr. David K. Smith 




anonymous Tuscan poet 






Clair de lune 


Moonlight 




Votre ame est un paysage choisi 


Your soul is a chosen landscape 




Que vont charmants masques et 


charmed by masquers and revellers 




bergamasques, 






Jouant du luth et dansant, et quasi 


playing the lute and dancing and almost 




Tristes sous leurs deguisements 


sad beneath their fanciful disguises! 




fantasques! 






Tout en chantant sur le mode mineur 


Even while singing, in a minor key, 




L'amour vainqueur et la vie opportune. 


of victorious love and fortunate living 


lis n'ont pas l'air de croire a leur 


they do not seem to believe in their 


bonheur, 


happiness, 


Et leur chanson se mele au clair 


and their song mingles with 




de lune, 


the moonlight, 




Au calme clair de lune triste et beau, 


the calm moonlight, sad and beautiful, 




Qui fait rever, les oiseaux dans 


which sets the birds in the trees dreaming, 




les arbres, 






Et sangloter d'extase les jets d'eau, 


and makes the fountains sob with ecstasy, 




Les grands jets d'eau sveltes parmi 


the tall slender fountains among 




les marbres. 


the marble statues! 




— Paul Verlaine 


— tr. Peter Low 




Mandoline 


Mandolin 




Les donneurs de serenades 


The givers of serenades 




Et les belles ecouteuses 


And the lovely women who listen 




Echangent des propos fades 


Exchange insipid words 




Sous les ramures chanteuses. 


Under the singing branches. 




C'est Tircis et c'est Aminte, 


There is Thyrsis and Amyntas 




Et c'est l'eternel Clitandre, 


And there's the eternal Clytander, 




Et c'est Damis qui pour mainte 


And there's Damis who, for many a 




Cruelle fait maint vers tendre. 


Heartless woman, wrote many a tender 
verse. 




Leurs courtes vestes de soie, 


Their short silk coats, 




Leurs longues robes a queues, 


Their long dresses with trains, 




Leur elegance, leur joie 


Their elegance, their joy 




Et leurs molles ombres bleues, 


And their soft blue shadows, 




Tourbillonent dans l'extase 


Whirl around in the ecstasy 




D'une lune rose et grise, 


Of a pink and grey moon, 




Et la mandoline jase 


And the mandolin prattles 




Parmi les frissons de brise. 


Among the shivers from the breeze. 




— Paul Verlaine 


— tr. Emily Ezust 



DUPARC Five Songs 



L'Invitation au voyage 

Mon enfant, ma soeur, 

Songe a la douceur 

D'aller la-bas vivre ensemble, 

Aimer a loisir, 

Aimer et mourir 

Au pays qui te ressemble. 

Les soleils mouilles 

De ces ciels brouilles 

Pour mon esprit ont les charmes 

Si mysterieux 

De tes traitres yeux, 

Brillant a travers leurs larmes. 

La, tout n'est qu'ordre et beaute, 
Luxe, calme et volupte. 

Vois sur ces canaux 

Dormir ces vaisseaux 

Dont l'humeur est vagabonde; 

C'est pour assouvir 

Ton moindre desir 

Qu'ils viennent du bout du monde. 

Les soleils couchants 
Revetent les champs, 
Les canaux, la ville entiere, 
D'hyacinthe et d'or; 
Le monde s'endort 
Dans une chaude lumiere! 

La, tout n'est qu'ordre et beaute, 
Luxe, calme et volupte. 

— Charles Baudelaire 



Invitation to journey 

My child, my sister, 

think of the sweetness 

of going there to live together! 

To love at leisure, 

to love and to die 

in a country that is the image of you! 

The misty suns 

of those changeable skies 

have for me the same 

mysterious charm 

as your fickle eyes 

shining through their tears. 

There, all is harmony and beauty, 
luxury, calm and delight. 

See how those ships, 

nomads by nature, 

are slumbering in the canals. 

To gratify 

your every desire 

they have come from the ends of the earth. 

The westering suns 

clothe the fields, 

the canals, and the town 

with reddish-orange and gold. 

The world falls asleep 

bathed in warmth and light. 

There, all is harmony and beauty, 
luxury, calm and delight. 

— Peter Low 



t< 



Please turn the page quietly. 




Phidyle 

L'herbe est molle au sommeil sous 

les frais peupliers, 
Aux pentes des sources moussues, 
Qui dans les pres en fleur germant par 

mille issues, 
Se perdent sous les noirs halliers. 

Repose, 6 Phidyle! Midi sur 

les feuillages 
Rayonne et t 'invite au sommeil. 
Par le trefle et le thym, seules, en plein 

soleil, 
Chantent les abeilles volages;. 

Un chaud parfum circule au detour 

des senders, 
La rouge fleur des bles s'incline, 
Et les oiseaux, rasant de l'aile la colline, 

Cherchent l'ombre des eglantiers. 

Mais, quand l'Astre, incline sur sa 

courbe eclatante, 
Verra ses ardeurs s'apaiser, 
Que ton plus beau sourire et ton 

meilleur baiser 
Me recompensent de l'attente! 

— Charles-Marie-Rene 
Leconte de Lisle 

Extase 

Sur un lys pale mon coeur dort 
D'un sommeil doux comme la mort 
Mort exquise, mort parfumee 
Du souffle de la bien aimee: 
Sur ton sein pale mon coeur dort 
D'un sommeil doux comme la mort. 

— -Jean Labor 



Phidyle 

The grass is soft for slumber beneath 

the fresh poplars, 
on the slopes by the mossy springs, 
which, in the meadows flowering with 

a thousand plants, 
lose themselves under dark thickets. 

Rest, o Phidyle! the midday sun shines on 

the foliage 
and invites you to sleep! 
Among clover and thyme, alone, in full 

sunlight 
hum the fickle honeybees. 

A warm fragrance circulates about 

the turning paths, 
the red cornflower tilts, 
and the birds, skimming the hill with their 

wings, 
search for shade among the wild roses. 

But when the sun, turning in its 

resplendent orbit, 
finds its heat abating, 
let your loveliest smile and your most 

ardent kiss 
recompense me for waiting! 

— Emily Ezust 

Rapture 

On a pale lily my heart is sleeping 

A sleep as sweet as death 

Exquisite death, death perfumed 

By the breath of the beloved 

On your pale breast my heart is sleeping 

A sleep as sweet as death. 

— tr. Richard Stokes 




Le Manoir de Rosemonde 

De sa dent soudaine et vorace, 
Comme un chien l'amour m'a mordu. 
En suivant mon sang repandu, 
Va, tu pourras suivre ma trace. . . 

Prends un cheval de bonne race, 
Pars, et suis mon chemin ardu, 
Fondriere ou sentier perdu, 
Si la course ne te haras se! 

En passant par ou j'ai passe, 
Tu verras que seul et blesse 
J'ai parcouru ce triste monde. 

Et qu'ainsi je m'en fus mourir 
Bien loin, bien loin, sans decouvrir 
Le bleu manoir de Rosemonde. 

— Robert de Bonnieres 

Chanson triste 

Dans ton coeur dort un clair de lune, 
Un doux clair de lune d'ete, 
Et pour fuir la vie importune, 
Je me noierai dans ta clarte. 

J'oublierai les douleurs passees, 
Mon amour, quand tu berceras 
Mon triste coeur et mes pensees 
Dans le calme aimant de tes bras. 

Tu prendras ma tete malade, 
Oh! quelquefois, sur tes genoux, 
Et lui diras une ballade 
Qui semblera parler de nous; 

Et dans tes yeux pleins de tristesse, 
Dans tes yeux alors je boirai 
Tant de baisers et de tendresses 
Que peut-etre je guerirai. 

— -Jean Labor 



The manor of Rosemonde 

Love, like a dog, has bitten me 
with its sudden, voracious teeth. . . 
Come, the trail of spilt blood 
will enable you to follow my tracks. 

Take a horse of good pedigree 
and set off on the arduous route I took, 
through swamps and overgrown paths, 
if that's not too exhausting a ride for you! 

As you pass where I passed, 

you will see that I travelled 

alone and wounded through this sad world, 

and thus went off to my death 
far, far away, without ever finding 
Rosemonde's blue manor-house. 

— tr. Peter Low 

Song of sadness 

Moonlight slumbers in your heart, 
A gende summer moonlight, 
And to escape the cares of life 
I shall drown myself in your light. 

I shall forget past sorrows, 
My sweet, when you cradle 
My sad heart and my thoughts 
In the loving calm of your arms. 

You will rest my poor head, 
Ah! sometimes on your lap, 
And recite to it a ballad 
That will seem to speak of us; 

And from your eyes full of sorrow, 
From your eyes I shall then drink 
So many kisses and so much love 
That perhaps I shall be healed. 

— tr. Richard Stokes 









INTERMISSION 




DEBUSSY "Fetes galantes," Set II 

Poems by Paul Verlaine; translations by Douglas Watt-Carter ("Ingenus") and Peter Low 



Les Ingenus 

Les hauts talons luttaient avec 

les longues jupes, 
En sorte que, selon le terrain et le vent, 
Parfois luisaient des bas de jambes, 
Trop souvent interceptes! 
Et nous aimions ce jeu de dupes. 
Parfois aussi le dard d'un insecte jaloux 

Inquietait le col des belles sous 

les branches, 
Et c'etaient des eclairs soudains des 

nuques blanches, 
Et ce regal comblait nos jeunes veux 

de fous. 
Le soir tombait, un soir equivoque 

d'automne: 
Les belles se pendant reveuses a nos 

bras, 
Dirent alors des mots si specieux, 

tout bas, 
Que notre ame depuis ce temps 

tremble et s'etonne. 

Le Faune (Peter Low) 
Un vieux faune de terre cuite 
Rit au centre des boulingrins, 
Presageant sans doute une suite 
Mauvaise a ces instants sereins, 

Qui m'ont conduit et t'ont conduite, 
Melancoliques pelerins, 
Jusqu'a cette heure dont la fuite 
Tournoie au son des tambourins. 

Colloque sentimental 

Dans le vieux pare solitaire et glace 
Deux formes ont tout a l'heure passe. 

Leurs yeux sont morts et leur levres 

sont molles, 
Et Ton entend a peine leurs paroles. 

Dans le vieux pare solitaire et glace 
Deux spectres ont evoque le passe. 

Te souvient-il de notre extase ancienne? 
Pourquoi voulez-vous done qu'il m'en 
souvienne? 



Ingenus 

The high heels struggled with 

the long skirts 
So that, between the terrain and the wind, 
occasionally some bare legs showed, 
too often intercepted! 
And we loved this game with the skirts. 
Occasionally, too, the sting of a questing 

insect 
disturbed the collars of the belles under 

the branches, 
And it was the sudden exposure of 

white necks, 
a treat that gratified our young foolish 

wants. 
Evening fell, an evening evoking Autumn; 

The beauties reclined dreamily in our 

arms, 
Whispering to us some special words, 

So that after a time we trembled and 
our thoughts surprised us. 

The faun 

An old faun made of terra-cotta 
stands laughing in the middle of the lawn 
doubtless predicting an unhappy 
sequel to these serene moments 

which have brought you and me (a couple 

of melancholy pilgrims) 

to this brief transient hour which now 

is whirling away to the beat of litde drums. 

Lovers' dialogue 

In the old park's desolation and frost 
the paths of two ghostly figures have 
crossed. 

Their eyes are dead and their lips slack 

and gray 
and one can scarcely hear the words they say. 

In the old park's desolation and frost 
two spectres have been evoking the past. 

"Do you recall our bliss of that September?" 
"Why ever should you wish me to 
remember?" 



Ton coeur bat-il toujours a mon seul nom? "Now when you hear my name does your 

heart-rate grow? 
Toujours vois-tu mon ame en reve? Do you still see me in your dreams?" 

Non. —"No." 

Ah! Les beaux jours de bonheur indicible Ah, the enchantment of loving so dearly, 
Ou nous joignions nos bouches: those kisses that we shared!" 

Cest possible. — "Did we really?" 

Qii'il etait bleu, le del, et grand Tespoir! Skies were so blue and hopes so high, 

so proud! 
L'espoir a fui, vaincu, vers le ciel noir. Defeated hope has fled in a sombre cloud. 

Tels ils marchaient dans les avoines Thus did they walk in the wild grass 

folles, swaying. 

Et la nuit seule entendit leurs paroles. Only the night heard the words they were 

saying. 



IBERT "Chansons de Don Quichotte" 

Chanson du depart de Don Quichotte 

Ce chateau neuf, ce nouvel edifice 
Tout enrichi de marbre et de porphyre 
Qu'amour batit chateau de son empire 
Ou tout le ciel a mis son artifice, 
Est un rempart, un fort contre le vice, 
Ou la vertueuse maitresse se retire, 

Que l'oeil regarde et que l'esprit admire 
Forcant les coeurs a lui faire service. 

Cest un chateau, fait de telle sorte 
Que nul ne peut approcher de la porte 
Si des grands rois il n'a sauve sa race. 

Victorieux, vaillant et amoureux. 
Nul chevalier tant soit aventureux 
Sans etre tel ne peut gagner la place. 

— Pierre de Ronsard 



Song of Don Quixote's parting 

This new castle, this new building, 

enriched with marble and porphyry, 

where love built a castle for his empire 

and all of heaven added their skills, 

a rampart, a fortress against vice, 

is where the virtuous mistress hides herself 

away, 
that the eye beholds and the spirit admires, 
forcing hearts to her service. 

It is a castle, made in such a way 
that none may approach its door 
unless he has saved his people from the 

Great Kings, 
victorious, valiant and loving. 
No knight, no matter how adventurous, 
can enter without being such a person. 

— Faith J. Cormier 



Please turn the page quietly. 







Chanson a Dulcinee 

Ah. . . Un an, me dure la journee 
Si je ne vois ma Dulcinee. 

Mais, l'amour a peint son visage, 
Ann d'adoucir ma langage, 

Dans la fontaine et le nuage, 
Dans chaque aurore et chaque fleur. 

Ah. . . Un an, me dure la journee 
Si je ne vois ma Dulcinee. 

Toujours proche et toujours lointaine, 
Etoile de mes longs chemins, 
Le vent m'apporte son haleine 
Quand il passe sur les jasmines. 

Ah. . . Un an, me dure la journee 
Si je ne vois ma Dulcinee. 

— Alexandre Arnoux 

Chanson du Due 

Je veux chanter ici la Dame de 

mes songes 
Qui m'exalte au dessus de ce siecle de 

boue 
Son coeur de diamant est vierge de 

mensonges 
La rose s'obscurcit au regard de sa joue. 

Pour elle, j'ai tente les hautes aventures 

Mon bras a delivre la Princesse 

en servage 
J'ai vaincu l'Enchanteur, confondu les 

parjures 
Et ploye l'univers a lui rendre 

l'hommage. 
Dame par qui je vais, seul dessus cette 

terre, 
Qui ne soit prisonnier de la fausse 

apparence 
Je soutiens contre tout Chevalier 

temeraire 
Vbtre eclat non pareil et votre 

precellence. 

— Alexandre Arnoux 



Song to Dulcinea 

A day lasts a year 

if I don't see my Dulcinea. 

But Love, to sweeten my languishing, 
has painted her face 

in the fountain and the cloud, 
in each dawn and each flower. 

A day lasts a year 

if I don't see my Dulcinea. 

Ever near and ever far, 

star of my long journeys. 

The wind brings me her breath 

when it blows over the jasmine flowers. 

A day lasts a year 

if I don't see my Dulcinea. 

— Faith J. Cormier 

The Duke's song 

Here let me sing the lady of my dreams, 

who raises me above this muddy century. 
Her diamond heart has never known a lie. 

The rose hides itself at the sight of her 

cheek. 
It is for her that I attempted high 

adventures. 
My arm freed the princess from servitude. 

I defeated the enchanter and confused the 

foresworn. 
I bent the universe to pay her homage. 

Lady for whom I roam alone on this 

earth, 
the only one not a prisoner of false 

appearances, 
I maintain before any foolhardy knight 

your peerless brilliance and excellence. 

— Faith]. Cormier 



Chanson de la mort de Don Quichotte 

Ne pleure pas, Sancho, 

Ne pleure pas, mon bon. 

Ton maitre n'est pas mort, 

II n'est pas loin de toi. 

II vit dans une ile heureuse 

Oii tout est pur et sans mensonges. 

Dans File enfin trouvee 
Oii tu viendras un jour, 
Dans Tile desiree, 
O mon ami Sancho. 

Les livres sont brules 

Et font un tas de cendres. 

Si tout les livres m'ont tue 

II suffit dun pour que je vive. 

Fantome dans la vie, 

Et reel dans la mort — 

Tel est l'etrange sort 

Du pauvre Don Quichotte. Ah! 

— Alexandre Arnoux 



Song of Don Quixote's death 

Don't cry, Sancho. 

Don't cry, my good fellow. 

Your master isn't dead, 

he hasn't left you. 

He lives on a happy island 

where everything is pure and there are 

no lies. 
He has found his island at last, 
and some day you will join him 
on this long-desired island, 
Friend Sancho! 

Books burn 

to piles of ashes. 

If books killed me, 

I just need one to live. 

A phantom in life 

and real in death — 

such is the strange fate 

of poor Don Quixote. Ah! 

— Faith]. Cormier 



POULENC "Le Bestiaire au cortege d'Orphee" 

Poems by Guillaume Apollinaire; translations by Lauren Shakeley 



Le Dromadaire 

Avec ses quatre dromadaires 
Don Pedro d'Alfaroubeira 
Courut le monde et l'admira. 
II fit ce que je voudrais faire 
Si j'avais quatre dromadaires. 

La Chevre du Thibet 

Les poils de cette chevre et meme 
Ceux d'or pour qui prit tant de paine 
Jason, ne valent rien au prix 
Des cheveux dont je suis epris. 

La Sauterelle 

Vbici la fine sauterelle, 
La nourriture de Saint Jean. 
Puissent mes vers etre comme elle, 
Le regal des meilleures gens. 

Le Dauphin 

Dauphins, vous jouez dans la mer, 
Mais le flot est toujours amer. 
Parfois, ma joie eclate-t-elle? 
La vie est encore cruelle. 



The dromedary 

With his four dromedaries 
Don Pedro de Alfarrobeira 
Roamed the world and liked it. 
He did what I'd do 
If I had four dromedaries. 

The Tibetan goat 

The fleece of this goat and even 
The golden one that Jason labored for 
Are worth nothing when compared 
To the hair that I'm in love with. 

The grasshopper 

Here's the fine grasshopper, 
John the Baptist's food. 
May my poetry be like it, 
A treat for the best people. 

The dolphin 

Dolphins, you romp in the sea, 
But the waves are always bitter. 
Yes, my joy breaks through at times. 
But life is